Jacqueline Porter


Management: Australasia

Handel Recital with Erin Helyard, Tasmanian Chamber Music Festival
“…The wonderful, rich, full-bodied tones of soprano Jacqueline Porter were spellbinding. Her rendition of La Lucrezia brought Handel right into the 21st century – a reminder that however old the music, the feelings expressed are timeless. This performance brought drama, heartbreak and human frailty to life with spine-chilling immediacy”.
Jo St Leon, Limelight Magazine, November 1 2018

Susanna, Handel in the Theatre
“…Singing the title role of Susanna was Jacqueline Porter, whose beautiful operatic soprano voice soared through the theatre. She sang the part with lyric beauty and feeling”.
Tony Magee, CityNews.com.au,  September 3 2018

Eine Kleine Nachtmusik, MSO
“…Jacqueline Porter also radiated joy as she sang Exsultate, jubilate. An animated singer with lovely resonance on the upper notes…..warm tone throughout the piece, a beautifully drawn out cadenza at the end of the “Tu virginum corona” featuring limpid floating notes, and excellent agility for a sprightly “Alleluja” that culminated in a ringing top C”.
Heather Leviston, classicmelbourne.com.au, July 21 2017

A Night in Vienna, Adelaide Symphony
“…beautiful songs performed magnificently by Jacqueline Porter. She trilled deliciously in the Laughing Song and gave a most moving rendition of the wondrous Vilja Song from The Merry Widow..”.
Peter Burdon, The Advertiser, July 22 2017

The Vow, Handel in the Theatre,
“…Undisputed star of the show was Jacqueline Porter as Iphis. Her faultless technique combined with her excellent acting ensured that the climax of the work was truly chilling as she knelt with her father about to sacrifice her to pay for his military victory”.
Jennifer Gall, The Canberra Times, October 10 2016

King Arthur,  Brisbane Baroque
“…Jacqueline Porter was in magnificent voice in the other soprano solos, her bell-like tone and exemplary diction lending focus to the tripping Hither, This Way as well as sultry and sensuous in Two Daughters of this Aged Stream (in ravishing duet with Howarth).
Clive Paget , Limelight, 12 April 2016

Handel: Alexander Balus, Canberra Choral Society
“Jacqueline Porter's captivating voice and exceptional focus equipped her to shine as Cleopatra…..Porter' s skilfully controlled dynamics in the unaccompanied opening of O Sword, and thou, all-daring hand ensured a spine-tingling performance, drawing the audience into her singing. Her final sombre offering, O take me from this hateful light, induced a reverent silence in the auditorium”.
Jennifer Gall, SMH, 22 September 2014

In Praise of Darkness, Tasmanian Symphony Orchestra
".....a clear winner of the evening was Tavener's Angel, .....Jacqueline Porter wielding an exceptionally pure soprano with physicality and concentration. "
Dee Jefferson  The Age, June 23 2014

“…But it was Tavener's Song of the Angel that soared, quietly, with guest soprano Jacqueline Porter fully deserving of her enthusiastic reception.”
Joel Meares, SMH, June 22, 2014

Hansel and Gretel, State Opera of South Australia
“Porter created a beautifully complex character... a voice both rich and shimmering”
Australian Stage, November 2010 

The Ugly Duckling, Prokofiev Festival, Sydney Symphony Orchestra
"The young Melbourne soprano Jacqueline Porter brought fresh vocal purity and an aptly wide-eyed narrative style to Prokofiev's much earlier setting of The Ugly Duckling.   ...Porter's voice was precise and well-coloured."
Peter McCallum, Sydney Morning Herald, 20 November  2009 

“Jacqueline Porter sang with clear voiced agility”
Murray Black, The Australian, 24 November 2009 

“Jacqueline Porter charmed and captivated a packed out Concert Hall. “
Manly Daily 

ASO in Vienna, Adelaide Symphony orchestra
“’Discovery of the season was Melbourne Soprano Jacqueline Porter”
Peter Burdon, Adelaide Advertiser 28 September 2009

Jacqueline Porter holds an honours degree in Music Performance and a Bachelor of Arts (Italian) from the University of Melbourne and was the recipient of the 2010 Dame Nellie Melba Opera Trust Scholarship. 

Equally at home on the operatic stage and the concert platform, Jacqueline appears regularly with Australia’s major symphony orchestras and choral societies. 

She has worked with celebrated conductors including Sir Neville Marriner, Vladimir Ashkenazy Sir Andrew Davis, Richard Egarr and Oleg Caetani, and her recitals and concerts are frequently broadcast on ABC Classic FM.

Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Drusilla, Virtù and Pallade (L’incoronazione di Poppea); L’Amour (Orpheé et Eurydice); Saskia and Hendrickje Stoffels (Rembrandt’s Wife); Clorinda (Il Combattimento di Tancredi e Clorinda) and Momus (Der Streit Zwischen Phoebus und Pan) (Baroque Triple Bill) for Victorian Opera and Gretel (Hansel and Gretel) for State Opera South Australia.

Jacqueline has performed Mahler Symphony No. 4 with both Melbourne Symphony Orchestra conducted by Sir Andrew Davis and Adelaide Symphony Orchestra; Mozart's “Litany of the Blessed Sacrament” for Sydney Symphony Orchestra; Fauré Requiem and Beethoven’s Mass in C for Melbourne Symphony Orchestra; Haydn Nelson Mass and Mozart Vespers at the Woodend Winter Arts Festival; Purcell’s King Arthur at Brisbane Baroque; St. Matthew Passion for Melbourne Bach Choir; Jephtha for Canberra Choral Society; The Vow (Handel in the Theatre) Judas Maccabeus (Heidelberg Choral Society) and an Art Song recital with Aura Go in the Salon at the Melbourne Recital Centre.

In 2018 Jacqueline sings Beethoven 9 for Adelaide Symphony Orchestra, Brahms Requiem for Festival of Voices in Hobart, Mozart Requiem for Melbourne Bach Choir and recitals at the Tasmanian Chamber Music Festival and at Woodend Winter Arts Festival. Her 2017 engagements included the role of the Princess in Respighi’s The Sleeping Beauty for Victorian Opera, (also performed at Dark Mofo, Hobart) performances with the Melbourne Symphony Orchestra (Exsultate Jubilate, Thaïs and Beethoven’s Symphony No. 9), Adelaide Symphony Orchestra (A Night in Vienna), Brahms Requiem (Victoria Chorale), and Handel Salve Regina in St Paul’s Cathedral (with the University of Melbourne).

Jacqueline's extensive concert repertoire also features Bach Passions and Cantatas, Berlioz Les Nuits d’été, Britten Les Illuminations, Enescu Vox Maris, Haydn Maria Theresa Mass, Mozart Coronation Mass and Requiem and Vaughan Williams Sea Symphony and Serenade to Music.

Career highlights have been Grieg’s Peer Gynt and Prokofiev’s Ugly Duckling (Sydney Symphony Orchestra also released on CD); Rachmaninoff’s The Bells and Mozart/Haydn arias (Melbourne Symphony Orchestra); Last Night of the Proms (Tasmanian Symphony Orchestra); Villa Lobos’ Bachianas Brasileiras no. 5 with renowned cellist Jian Wang and the cellists of the Sydney Symphony; an Adelaide Symphony Orchestra New Years’ Eve broadcast; Mélisande’s Song in Fauré’s Pelléas et Mélisande Suite with Vladimir Ashkenazy and Sydney Symphony Orchestra; the roles of L’Euridice and La Tragedia in Peri’s L’Euridice and Bach’s B Minor Mass (Woodend Winter Arts Festival); Mozart Exsultate Jubilate and Haydn Harmoniemesse for the Organs of the Ballarat Goldfields Festival; recitals with Caroline Almonte and the Australian String Quartet for the Dunkeld Festival of Music; Cleopatra in Alexander Balus (Handel) with Canberra Choral Society; Tavener’s Song of the Angel with the Tasmanian Symphony Orchestra for the Dark MOFO Festival; concerts with Renaissance ensemble, La Compañia; Opera in the Vineyard with David Hobson; a recital of Schumann Lieder for ABC radio and a performance at the Melbourne Town Hall with German organist, Joachim Neugart, featuring 20th Century works for soprano and organ. 


Jacqueline Porter is managed by Graham Pushee: graham@artsmanagement.com.au
November 2018
   This biography is for general information purposes only and not for publication.
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