Music Projects
Cowtown Country ClubA new project with three of the most incredible people I know, one of whom I am married to.
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Music Press
DUKE ELLINGTON SACRED CONCERT, soloist
"Jessica Salley was the first vocal soloist of the night, on the ballad-ish “Heaven” from the Second Sacred Concert of 1968. Salley’s light soprano was a good match to that of Alice Babs’ original recording, leaning hard on blue-notes not normally found in a choral concert."
-KCMetropolis.org
ARTISTRY INSIDE THE MACHINE, Guest Artist
“Guest composer George Brunner’s four-part micro-opera Lady Macbeth, Descent into Madness, closed the evening. Soprano soloist Jessica Diana Salley embodied the demented conniver not only in voice but in convincing stage presence as well. The electronics provided a window into Lady Macbeth’s psyche as much as Salley’s performance. The second portion of the work featured some delicious coloratura passages from the composer that Salley sang with as much importance, conviction, and aplomb as any mad scene by Donizetti, Puccini, or Verdi. The concluding fourth section was a great inversion of the soloist/accompanist paradigm. The featured ‘Out damn’d spot’ soliloquy was in the tape part and Salley was relegated to an extended, wonderful vocalise.”
-KCMetropolis.org
"Jessica Salley was the first vocal soloist of the night, on the ballad-ish “Heaven” from the Second Sacred Concert of 1968. Salley’s light soprano was a good match to that of Alice Babs’ original recording, leaning hard on blue-notes not normally found in a choral concert."
-KCMetropolis.org
ARTISTRY INSIDE THE MACHINE, Guest Artist
“Guest composer George Brunner’s four-part micro-opera Lady Macbeth, Descent into Madness, closed the evening. Soprano soloist Jessica Diana Salley embodied the demented conniver not only in voice but in convincing stage presence as well. The electronics provided a window into Lady Macbeth’s psyche as much as Salley’s performance. The second portion of the work featured some delicious coloratura passages from the composer that Salley sang with as much importance, conviction, and aplomb as any mad scene by Donizetti, Puccini, or Verdi. The concluding fourth section was a great inversion of the soloist/accompanist paradigm. The featured ‘Out damn’d spot’ soliloquy was in the tape part and Salley was relegated to an extended, wonderful vocalise.”
-KCMetropolis.org
LISZT AND HIS CONTEMPORARIES, Recitalist
“Jessica Diana Salley also shone brightly, particularly on the final song of the evening, Liszt’s ‘Oh! Quand je dors.’”
-KCMetropolis.org
“Jessica Diana Salley also shone brightly, particularly on the final song of the evening, Liszt’s ‘Oh! Quand je dors.’”
-KCMetropolis.org
A LITTLE NIGHT MUSIC, Anne
"Anne Egerman... received outstanding performances from Jessica Salley... Salley was a luminous Anne, portraying the self absorption and thoughtlessness of youth without obscuring its undeniable charms. Salley also boasted a pure soprano and admirably clear diction even in the highest reaches of 'Soon.'"
-The Sondheim Review
"Anne Egerman... received outstanding performances from Jessica Salley... Salley was a luminous Anne, portraying the self absorption and thoughtlessness of youth without obscuring its undeniable charms. Salley also boasted a pure soprano and admirably clear diction even in the highest reaches of 'Soon.'"
-The Sondheim Review
LA RONDINE, Liestte
"...Prunier and Jessica Salley as maid Lisette are a delight together, stealing every scene they're in, and providing some much needed and surprisingly clever comic relief throughout the piece"
-The Oklahoma Gazette
"...Prunier and Jessica Salley as maid Lisette are a delight together, stealing every scene they're in, and providing some much needed and surprisingly clever comic relief throughout the piece"
-The Oklahoma Gazette