Performances:
"Her Mozart, though often mellow-edged and full of opulently sculpted swoops and leaps, is always light on its feet. Even at its most delicate, however, it is never fragile or brittle. The musical lace is spun from almost transparent but always unbreakable thread.
"There is something organic about the performances Glover draws from her musicians. The orchestral music seems to flow as naturally as a mighty, if changeable, river."
Chicago Sun-Times (MOB Mozart)
"Jane Glover's conducting was a model of sound musicality and unbridled enthusiasm."
Independent (The Magic Flute, July 2008)
"...so beautifully wrought was Sunday's performance under conductor Jane Glover, that you never felt you were looking at Mahler through the wrong end of a telescope...Mahler's textures and counterpoint took on a startling clarity; instrumental details projected with unusual freshness, charm and presence...Glover coaxed wonderfully ripe rubato phrasings from her 12 players, scaled climaxes deftly but never lost her grip on the grand design."
Chicago Tribune (Mahler 4, May 2008)
"Glover enforces stylistic authority and cumulative verve with an understanding hand in the pit."Chicago Tribune (Don Giovanni, May 2008)
"Jane Glover conducts with live pacing, glowing sound and wistful beauty. "New York Times (King Arthur, March 2008)
"Only seismic applause could've brought this celestial night back to reality, and did it ever."
Chicago Sun Times (St. Matthew Passion, March 2008)
"Jane Glover held the reigns in the pit with sovereign mastery, conducting the entire score from memory, and drawing the best Mozartean colours from the orchestra, making it sparkle."
Le Nozze di Figaro (Detroit, November 2007)
"Glover's attention to detail and ear for transparecy inspired the MOT orchestra to a fine sheen and her rapport with the singers was just as illuminating."
Detroit Free Press (Le Nozze di Figaro, November 2007)
"Jane Glover, increasingly an essential part of the furniture of Chicago\'s music scene, had a hit three years ago with Haydn's most widely known such work, "The Creation," and followed that up with this week\'s performances of "The Seasons" of 1801, the master's last major work...Glover breathes this music, as she does that of Mozart's operas. When will we hear her with the CSO? She understands Haydn's style, time and world without ever coming off as pedantic or academic. Just the opposite: Glover knows that this was a composer who knew how to express infectious joy."
Chicago Sun Times (The Seasons, September 2007)
"Jane Glover conducts this masterly score with a perfect mixture of sensuality and perkiness."
The Times (King Arthur, ENO)
"Glover coaxes moments of intense lyricism from Purcell's enchanting score, his daring harmonies and dance rhythms."
The Guardian (King Arthur, ENO)
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Writing: "Mozart’s Woman immeasurably
enhances our sense of who Mozart was, opening window after window into a
whole series of remarkable lives. No one who cares about him or his music
should be without it."
Simon Callow: The Guardian
"Jane Glover has pulled off a coup des livres with her fresh take on
Mozart’s lifestyle."
John Allison: Sunday Telegraph
"It is impossible to read Mozart’s Women without being deeply touched by
what it reveals of the people closest to the composer."
Paul Bailey: The Independent
"The most welcome and compellingly serious music publication in a long
time."
Kenneth Walton: The Scotsman
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