Vocalist - Soprano
Scottish Opera tearjerker

"All of the actors on stage were worthy of their roles. However Jeanine De Bique (Musetta) Luis Gomes (Rodolfo) and Hye-Youn Lee (Mimi) deserve a special mention for their performances which moved me to tears."

Rebecca Buchan, Press and Journal
La Bohème - Scottish Opera

"It looks a treat, too, with the story proper updated to the 1920s. Act Two, in particular, is a regular carnival. Musetta — played by Jeanine de Bique as Josephine Baker, and sung with chrome-plated flair — makes her entrance trailing a cheetah on a leash, and the whole thing is full of details that fill out the opera’s world."

Richard Bratby, The Spectator
Detail-rich and Resonant

"Jeanine de Bique's Musetta is a Josephine Baker-esque singer, complete with huge extravagant white furs. The harder tone to her voice contrasts well with Lee's, adding an almost physical edge to those moments when they are singing together, either in duet or ensemble."

Thom Dibdin, The Stage
Jazz-age colour and vitality animate Scottish Opera's new production

"The setting is updated to the interwar years, the era when American artists and writers flocked to Paris to live the bohemian life. This allows for a Café Momus scene full of flamboyant jazz-era figures, including Jeanine de Bique’s glamorously exotic Musetta, a homage to entertainer Josephine Baker, pet cheetah and all."

Rowena Smith, Guardian
La Boheme, Theatre Royal, Glasgow

"There was delicious singing from Jeanine De Bique's outrageous minx Musetta, though, who somehow managed to find a way through."

Kelvin Holdsworth, Herald Scotland
Carmen - Opera Santa Barbara

"As Micaëla, the Trinidadian soprano Jeanine De Bique sang with nuance and great expressivity. Her moving rendition of 'Je dis que rien ne m'épouvante' received lengthy and well-deserved applause."

Edmond Johnson, Opera News
‘Carmen’ at the Granada

"Jeanine De Bique more than earned the rapturous ovation she received for her dazzling performance in the role."

Charles Donelan, Santa Barbara Independent
The Tragedy of Carmen - Colorado Music Festival

"Jeanine De Bique’s soprano/Micaëla sang warmly, darkly, strongly ..."

Peter Alexander, Sharps and Flatirons
Jacksonville Symphony's presentation of the choral work is a 'must hear'

“Jeanine De Bique has a remarkable, rich voice.”

Will Kesling, Florida Times-Union
Boston Baroque’s ‘Messiah’ rings greatly

"Trinidadian soprano Jeanine de Bique, making her Boston Baroque debut, soared through the fleet melismas of 'Rejoice greatly,' and her 'I know that my Redeemer liveth' was luminescent and gorgeously phrased."

Zoë Madonna, Boston Globe
Chicago-born opera 'Morning Star' shines powerfully

“Several memorable songs crystallize the psychology of the main characters, notably Fanny’s proto-feminist ballad, ‘If I’m Not Allowed to Sing’; and Pearl’s ‘So Many Colors,’ in which the young woman, an African-American from the rural South, laments the loss of her home and family.... Jeanine De Bique as the nostalgic Pearl [was] admirable.”

John von Rhein, Chicago Tribune
Morning Star (World Premiere) – Cincinnati Opera

“It’s a terrific cast made up of some of the best American voices out there. Jeanine De Bique stole the show as Pearl with a velvety, lyric [soprano] that elevated her aria ‘I See Colors’ into a showpiece.”

Anne Arenstein, Cincinnati City Beat
Jommelli’s FETONTE – Theater Heidelberg

“The soprano Jeanine De Bique, with a voice well grounded in the lower range, had a very good evening; she sings with precision and a wide color range – which doesn’t inhibit her from ending her sonorous life with a jump into that very same hole in the stage, in which her mother, Teti, the Goddess of the Sea, disappeared. Freud would have had fun with that one.”

Susanne Benda, Stuttgarter-nachrichten
Jommelli’s FETONTE – Theater Heidelberg

“The female cast was led by the Trinidadian soprano Jeanine De Bique, who as Climene, Queen of Nubia, shone with highly flexible and yet well-mastered voice. A delight!”

Matthias Roth, Rhein-Neckar Zeitung
Jommelli's FETONTE - Theater Heidelberg

“Jeanine DeBique was especially convincing, singing Climene with a full round sound.”

Uwe Schweikert, Stuttgarter Zeitung (Stuttgart Times)
Soprano soars in André Previn's Honey and Rue

“And how wonderful, also, to discover De Bique. She inhabited these songs [Previn’s ‘Honey and Rue’] – six vignettes from the female perspective of the African-American experience.... The songs were a good fit for her voice – pure-toned, fresh and with an effortless knack for perfect intonation.... The soprano navigated leaps and high notes seamlessly and with power, yet always with beauty.”

Janelle Gelfand, Cincinnati Enquirer
DEAD MAN WALKING - Central City Opera

“Also deserving of note [was] soprano Jeanine De Bique, who lit up the role of Sister Rose.”

Kyle MacMillan, Opera News
Pan On A Higher Note ends in success

“Making her debut appearance with the NSSO, De Bique introduced Gershwin’s music. Once described by the Washington Post as an artiste ‘of dramatic presence and vitality,’ the talented opera performer used her powerful vocals to give glorious renditions of Summertime and My Man’s Gone Now, from Gershwin’s legendary opera Porgy and Bess.”

David Cuffy, The Guardian (Trinidad and Tobago)
Central City Opera's Dead Man Walking

“Oh how I wish Jeanine De Bique had more to sing in this opera. Her genuine, unaffected Sister Rose was further complimented by a lush and inviting instrument of brilliant clarity.”

Tracy Kaufman, Operagasm
Central City Opera hits hard with 'Dead Man Walking'

"Soprano Jeanine De Bique matched her rich sound to an empathetic bearing to realize Sister Rose, a performance that fueled the opera's engine of transformation."

David Sckolnik, Colorado Springs Gazette
Gripping performances carry Central City Opera's 'Dead Man Walking'

"Soprano Jeanine De Bique, as Helen's confidant Sister Rose, sings with great beauty, especially in her extended duet with (Jenny) Rivera toward the beginning of the second act."

Kelly Dean Hansen, Boulder Daily Camera
Soprano Jeanine De Bique shows range, refinement in song program

“The young soprano from Trinidad shone Wednesday night.... Strauss’s ‘Ophelia-Lieder’ highlighted De Bique’s dramatic stage presence, as she incarnated the distant and manic sides of Shakespeare’s demented character with a disturbed smile as she sang ‘Er ist tot, o weh!’ Here and in an elegant set of Wolf songs, the top of her voice had a light and airy sound, with intonation and rich German diction always clean, the tone occasionally straightened to add an air of strangeness to the Ophelia songs.... The emotional high point came at the end, with a heartfelt rendition of André Previn’s ‘Honey and Rue,’ a song cycle based on powerful texts by Toni Morrison.... To paraphrase Morrison’s words in ‘Honey and Rue,’ De Bique’s voice was easy to take, but definitely not easy to mistake.”

Charles T. Downey, Washington Post
Jeanine De Bique: Breaking color barriers in the world of opera

“De Bique was not only convincing as Juliette, but resplendent in bringing to life the teenaged star-crossed lover. Her powerful coloratura soprano voice poured forth passion and angst, sweetness and sorrow, seemingly soaring beyond the walls of the venue. The actress in De Bique eloquently conveyed emotions even without her sublime voice.”

Frank Drouzas, Weekly Challenger
"Expressing a gamut of emotions throughout her recital, the gifted young performer sang with exceptional expressiveness, breathing the same life and rich tone into the deep notes of her lower register as the high, soaring fortissimo moments. She captivated her audience with seemingly effortless vocal flexibility, commanding stage presence, and sensitive interpretation of each selection on the program.

"Jeanine de Bique, with her unique voice, unflappable stage presence, and authentic personality makes her the perfect candidate to become an ambassador of culture. The journey she took us on last week through various style and cultures, emotional highs and lows, made it possible for us to feel something in our own lives."

Jim Luce, Huffington Post
"Glorious Voices," Indeed
“Jeanine de Bique sang with rich, engaging tone throughout. Not just another bright-toned soprano, she sings with full use of her colourful voice from her highest notes to her lowest ones. She has a ‘bite’ to her sound that recalls the great Kiri Te Kanawa. As the Mendelssohn concluded, I could not wait to hear her in the Poulenc.… Poulenc’s Gloria has become a staple in the choral-orchestral repertoire. The beautiful melodies and tour-de-force soprano solo catch your attention, but it is the creative orchestration and exciting surprises that keep you hooked.… There is also a never-ending juxtaposition between thrills and absolute calmness. Both Maestro Eddins and Ms. de Bique took full advantage of this, taking the audience through all of the highs and all of the lows.… Friday night’s concert, ‘Glorious Voices,’ was indeed just that … glorious.”
Mark Wilkinson, Sound + Noise
Gardner Recital with Warmth and Light
“De Bique’s sovereign vocal control gave us some luscious rises and falls and allowed her sometimes to begin a note without vibrato and then gently bring it in.… Mozart’s concert aria Misera, dove son, K. 369, ‘Oh, misery, where am I?’ opened with a ravishing messa di voce from De Bique.… Also particularly notable was the luscious 'Of the Softest Hair,' smooth as satin in De Bique’s hands and finishing with a gorgeously floated pianissimo. The set finished with 'Tiny Is the Bride' that exploits the incongruity of a slyly amusing text (‘Tiny is the bride, tiny is the groom’) alternating with a great tour-de-force display in both the piano and vocal parts. The performance was appropriately jaw-dropping.”
Geoffrey Wieting, Boston Musical Intelligencer
In performance: Kirkby, De Bique
“De Bique captured the energy Debussy hides in single words. The most sensitively rendered of the Hugo Wolf lieder was ‘Er ist’s,’ a study in boundless elation. She captured the emotional drive of Mozart’s ‘Misera, dove son,’ … All in all, De Bique has a promising career ahead of her with her dramatic presence and her versatility.”
Cecelia Porter, Washington Post
For His Finale, Maazel Musters Mahler's Army
“Jeanine De Bique as the soprano voice of the Mater Gloriosa — made [a] powerful contribution[s], individually and in ensembles.”
Allan Kozinn, New York Times
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