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"For Janet Todd, opening night turned out to be one of those star-making moments...From her demure entrance to her tragic suicide, Todd captured the transformative journey of her character, from naïve innocent to mature womanhood. She has a melodious soprano that can blossom to dramatic fullness… Todd’s performance was impressive and skillfully detailed."

San Francisco Classical Voice

"Australian soprano, Janet Todd, made an indelible impression. The bright, softly gleaming tones in the upper reaches of her soprano invested the character with serenity even at the most difficult moments of her tragic fall." 

Opera News

"No one captured the audience's heart more than Janet Szepei Todd as

Cio-Cio-San with one of the most beautifully placed voices I think I've ever heard. She touched the Db on her entrance with almost no effort and I

made myself comfortable in my seat. She consistently rose to each vocal challenge with some of the healthiest and most well supported tone

I've heard in a very long time."

"I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly. The audience rose as one to vociferously cheer her stunning assumption of the taxing part, which she lavished throughout with poised, shining tone; rock solid technique; and fiery dramatic commitment. Ms. Todd, petite and lovely, was not only believable as the tentative, naive 15-year old geisha of Act I, but rose to the ranks of great tragediennes as her fate is subsequently sealed. Her ravishing instrument caresses Puccini’s lush phrases with a radiant luster, and her plush, ample lyric soprano rides the orchestra with ease. Her total accomplishment is all the more remarkable for the fact that she is singing the role in Japanese translation."

"Ms. Todd delivers a delicate, nuanced performance that pulls the audience into her tragic world. Blessed with a crystalline, radiant voice, she manages to express powerfully the sorrow, pain and joys of her life, especially in the famous aria “Un bel dì vedremo”

Living out loud Los Angeles

"On opening night, Janet Todd stepped into the leading role of Cho-Cho San… Todd’s Butterfly fluttered with sweet joy and delicate innocence, making her later heartbreak all the more moving. Her voice was exquisite."

Culture Spot LA

“It is hard to convey in words how talented this soprano is.”

The Herald Sun, Melbourne


“Janet Todd is a star to watch!”

Limelight Magazine 


“The singer who drew the most applause from the audience, and whom I too enjoyed the most, was Janet Todd, who has a rare combination of lyric and coloratura soprano at her command, and can sculpt with effortless lyricism extreme high-register passages.”

The Australian Stage


“Soprano Janet Todd outshone her supporting castmates. Her radiant, fresh voiced portrayal of Zelmira compelled one’s attention whenever she appeared.”

The Australian

“The star, and not for the first time, is Janet Todd as Pamina. Her soprano is more assured each time I see her”

Daily Review


 “Zelmira, Armida’s attendant was magnificently sung by radiant soprano Janet Todd. Her major scene in Act 2 when she tries to distract Idreno was terrific. She lushly blends both lyric and coloratura soprano to effortlessly create lyrical yet demanding high-register passages creamily sung.”

Arts Hub


“Janet Todd as Miss Hawk stole the show, deftly moving from speech to the stratospheric leaps demanded by Salieri’s punishing vocal writing. Their voices were well matched; their comic timing and flawless technique assured gratifying and entertaining characterizations.”

Sounds like Sydney


“All of the principal cast are excellent, with Janet Todd displaying especially sharp comic timing.”

The Australian Stage


“ [Janet] sings commandingly, leaving no doubt that even among such a gifted cast of female colleagues Miss Hawk (Janet Todd) is the opera's prima donna. …Todd proves an accomplished stylist and reliable presence above the stave. She distinguishes herself with a performance of precision and pizzazz, her musical and dramatic instincts in near-perfect synchronicity.”


“Todd is, perhaps, even funnier for being a trifle more understated, and is hilarious in the very demanding show stopping aria in Act 1’s ‘music lesson’…She’s spot on vocally and her surly, pouting demeanor with huge eyes hides a razor-sharp vocal technique… her revenge aria, where she explosively threatens her rival, brings the house down again.”

Arts Hub


“…sung commandingly by Esther (the charismatic Janet Todd)”

The Canberra Times


“Todd performs the role of Lieschen with great charm. She sings her high notes with precision and lyricism, and acts with confidence. Following Todd’s success as Pamina in The Magic Flute, we are sure to hear more of this fine voice.”

The Herald Sun, Martin Ball



“Victorian Opera has uncovered a gem in young Melbourne Soprano, Janet Todd (a pure toned Pamina)”

The Sunday Age, Melbourne, Barney Zwartz


“The purity and operatic strength of [Janet Todd’s] voice is a thing of wonder.”

The Age, Melbourne Cameron Woodhead

"...her poignant top notes floated effortlessly through the playhouse."

City News, Canberra

"...singing with great sensitivity."

Sydney Morning Herald


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