Press quotes

'Sheldon displayed complete command and consistency of vocal production throughout the repetitive musical material of Cycle ‘Canciones’. Maintaining a striking physical stillness, she effortlessly executed the intervallic gymnastics required to quickly alternate between pure tone and vocal fry.' – Partial Durations, September 2017 (BIFEM, with Argonaut Ensemble and Elena Schwarz)

'...a magnificent acting performance from Jane Sheldon...' – Timeout Sydney, August 2017 (Sydney Chamber Opera, Rape of Lucretia)

‘From Sheldon, we heard soft tones that were hushed, purple, quasi-onomatopoeic, and much more; we heard something closer to speech and we heard snatches of operatic vocalism…. I only wished we could have heard another performance straight away. Excellent….There could be no gainsaying the virtuosity of the performers…’ – Seen and Heard International, October 2015 (Recital of Schoenberg and Lachenmann, with Zubin Kanga)

'full-on vocal virtuosity, explosive wit and an overabundance of text, languages, ideas and techniques.' – New York Times, February 2015 (John Cage's Four Solos for Voice (93-96) Avant Music Festival, New York, with Ekmeles)

‘Sheldon and Kanga acquit themselves wonderfully, displaying Sheldon’s technical assuredness and Kanga’s artistry at projecting immensely complex music without ever upstaging or drowning out the voice…. electric… displaying an astonishing compass.’ – The Music Trust, October 2015 (Chiaroscuro, with Zubin Kanga)

‘Within seconds an atmosphere of calm envelops the listener to the sublime performances on this album.’ – The Australian, reviewing Chiaroscuro, with Zubin Kanga, September 2015

‘…alluringly performed… she performs rapid arpeggiated passages with pinpoint accuracy, slipping into phrases of great smoothness that are seductive and hypnotic.’ – Sounds Like Sydney, reviewing Chiaroscuro, September 2015

‘At midpoint came the most exciting piece of the evening, Four Solos For Voice (93-96) from 1988. It was a set piece of a sort, with a spotlight often dramatically falling on soprano Jane Sheldon. None of the four could be called principal, but Sheldon was striking, growling and shrieking…’ – The Wire, May 2015, (John Cage's Four Solos for Voice (93-96) Avant Music Festival, New York, with Ekmeles)

‘From its first sounds, this unusual recording draws in the listener, captivating with the limpid beauty of music and performances…. Sheldon brings her signature purity of tone and uplifting intelligence to each of the tracks.’ – The Australian, reviewing Nature, January 2015.

‘Sheldon… did virtuoso work.’ – Seen and Heard International, September 2014

‘The performance was crisply precise, Sheldon singing with evenly modulated gradations and a tone as pure as an opening flower… It was an intelligently selected, subtly performed program of close musical interactions.’ – Sydney Morning Herald, July 2014

‘Sheldon’s pure toned voice soared over the burnished timbres of the clarinet and viola.’ – Sounds Like Sydney, July 2014

‘Soprano Jane Sheldon… brought mesmerising emotional truth to the performance – the skill and maturity of this remarkable young Sydney-born, Manhattan-based singer were the highlight.’ – The Australian, March 2014

‘A performance of overwhelming intensity from soprano Jane Sheldon…riveting stage presence. Vocally, Sheldon is equally compelling, her diction superb, as is her control of Kancheli’s long, long lines.’ – Limelight Magazine, December 2013

‘The soprano Jane Sheldon deserves enormous plaudits.’ – Bachtrack, December 2013

‘The sopranos Mellissa Hughes and Jane Sheldon and the mezzo-soprano Kirsten Sollek sang sublimely, their precise pitch and clear tones shimmering and resonating in discordant harmonies and intricate metrical maneuvers.’ – New York Times, June 2013.

‘Jane Sheldon’s potent, forceful voice was a perfect match for [Kaija Saariaho’s Lonh]… crystalline strands of Sheldon’s immaculately controlled upper register dissipated into impossibly transforming acoustical spaces.’ – Boston Musical Intelligencer, October 2010

‘Sheldon was superb, with a voice of penetrating beauty, precision and variegated colours…’ – Sydney Morning Herald, November 2009

‘Special mention must be made of Jane Sheldon’s marvellous performance as Nerillo, Amida’s page – saucy, jaunty and brash.’ – Artshub, December 2009

‘Another contender in the pure silvery soprano stakes is Jane Sheldon in the trouser role of Nerillo… liven[s] up the stage with her quicksilver persona.’ – Opera Britannia, December 2009

‘Sheldon… sang with becoming purity of tone, burnished with a soft patina to create well-arched lines.’ – Sydney Morning Herald, July 2009

‘…standout performances: Jane Sheldon’s scarily beautiful top note…’ – Sydney Morning Herald, September 2008

‘…bringing the music to points of staggering beauty… What a tone she has.’ – Sydney Morning Herald, 2006