“An all-Vivaldi programme built around the extended C minor setting of Psalm 113, Laudate pueri, certainly provides her with ample scope to demonstrate her undoubted excellence as a singer of this repertory, full, as it is, of brisk, virtuosic runs (which she executes with hugely impressive agility and clarity of articulation), demandingly high tessitura (which she manages with precision and wonderfully clear focus), quasi-dramatic recitatives (which she delivers with a great deal of poise) and long-breathed arioso lines (which she caresses with consummate care, notably in the serene Largo movement of the motet O qui coeli terraeque serenitas). But there is much more to it than merely a vehicle to display a voice singularly well-equipped to perform Baroque music.
She integrates with the instruments in a way which is rare indeed and makes for some utterly captivating performances; not least the enchanting duet with mandolin (Michiel Niessen) in the delicate aria “Transit aetas” from Vivaldi’s only surviving oratorio, Juditha triumphans. May we hear a lot more of Zomer and her Tulipa Consort in the years ahead.”
Marc Rochester, Music-web international, recording of the month (July 2016)
…the soloists, who divided all roles between the three of them, all sang excellently, but the magnificent Johannette Zomer was effortlessly outstanding…
NRC, Joep Stapel, February 2015
Soprano Johannette Zomer was the perfect interpreter of these five very concise sonnets. With her pure and clear sound she made the restrained tears of Mother Mary perfectly audible.
Trouw, Peter van Lint, May 2013
Johannette Zomer has been for many years the best baroque soprano of the Netherlands. She combines a wonderful voice with sublime textual comprehension and a magnificent technique with great musicality and taste.
Het Parool, Roeland Hazendonk, May 2013
The inestimable Zomer played and sang the part of Clarine.
Physically unrecognisable because of a long black wig, Johannette Zomer’s blissfull voice made her stand out of thousands. She sang the most beautiful aria Rameau composed for this opera. ‘Soleil, fuis de ces lieux’ is a gem for soprano and obbligato oboe, and Zomer grabbed this opportunity with brilliant conviction.
Trouw, April 2011
‘…Zomer really connects with the audience; she has a physically strong presence, and appeals to everyone. Her aria ‘Ach, ich fühl es’ is the emotional climax of this performance. What beautiful warm full-bodied high notes, what intensity…’
‘she had a flawless, dulcet soprano, which splendidly catches the wonderful inimitable melancholy Mozart has given to the character of Pamina’
Johannette Zomer sings with poise and colour.
Solo highlights included Zomer’s joyful and agile presentation of “Laudamus te”. [….] Soprano Johannette Zomer especially distinguished herself with compelling stage presence.
Early Music Review
about: Cd Buxtehude Membra Jesu Nostri
Even better than Invernizzi is Johannette Zomer, soprano soloist with the Netherlands Bach Society blessed with audiophile Channel Classics SACD sound. Zomer’s singing is supple, feminine, emotive, has crystal-clear high notes and possesses great intelligence with words.
BBC Radio 3 Review
met Fred Jacobs, theorbe
Zomer’s singing is entrancing: lithe and articulate with an engaging ornamental vibrancy and a tone that is both rich and focused. Above all, however, it is her responsiveness to the demands of expression that so mark these performances as memorable.[…] In Nuove Musiche, Zomer and Jacobs provide a rich experience of the newly emerging baroque style. It is an experience to revisit with frequency.
Steven Plank, Opera Today
Johannette Zomer, a specialist in medieval and baroque music, fits well into this production with her frank, almost ‘chanson gothique’ reciting style. She forms a striking young couple with Nathaniel Webster as Pelléas.
Johannette Zomer can regard her progression from Baroque to the 20th Century as succesful. She succeeds very well in transforming the mysterious Mélisande into a real human being.
Soprano Johannette Zomer and baritone Nathaniel Webster shine in the title rolls (both debuts).
Johannette Zomer demonstrates her continuous development with a solid and shining interpretation of the female lead.
‘High praise for Johannette Zomer, a soprano with purity of tone but plenty of tonal warmth and impressive expressive sources. She has re-thought ‘Nur ein Wink’ from scratch and discovers something more declamatory and highly charged than we are used to.’ (CCS 20103)
International Record review
‘I’ve rarely heard two female voices better suited to the ecstatic plateaus and breathless gasps of ‘stile moderna’s’ sweet suspensions than those of Johannette Zomer (Amanda) and Hanne Fischer (Amando)’
The Independent on Sunday
‘Johannette Zomer was a suave, very adult high soprano who still made the Pie Jesu fresh and touching’
(MDG 332 1019-2) bij het Collegium Cartusianum o.l.v. Peter Neumann
‘Dans le rôle-titre, Johannette Zomer réussit une composition tout à fait remarquable, surpassant même Dawn Upshaw à Glyndebourne, par la beauté du timbre et le legato vocal’
Amsterdam Baroque Choir & Orchestra, conductor Ton Koopman
‘Johannette Zomer singt einen glockenreinen Sopran mit wohldosiertem. geschmacksicheren Vibrato und wunderbarer Artikulationsschärfe’
Launch of my career in the Baroque scene
‘The soloists are a fine team, with Johannette Zomer blending exquisiteley with Véronique Gens in the Christe eleison and with Andreas Scholl in the Et in unum Dominum” (HMC 901614.15)
performed by the ‘Nationale Reisopera’ (the Dutch Touring Opera Company) :
‘Unexpected little gems were embedded in the crystal-clear sung role of Tebaldo’