“But the evening belonged to mezzo soprano Jessie Raven, the increasingly crazed gypsy Azucena. A veteran in the role, she presented a blistering, vengeful, bundle of high-strung emotions with a gorgeous vocal delivery to match.” (2008)

“The most dramatic moments belonged to mezzo-soprano Jessie Raven as the gypsy Azucena. As the opera progresses, Azucena veers from lucid rage to anguished remorse before lapsing into madness, and Raven managed to convey all of these effectively.”

“The revelation here is Raven, who should earn a comfortable living in the role of Azucena. Her voice is a powerful instrument, finely tuned and superbly conditioned for this showiest of Italian mezzo roles. From her opening scene, in which she performs the anquished Condotta ell’era in ceppi to the scene in which she is condemned (Deh, rallentate, o barbari), Raven dominates the stage. Her dementia is almost palpable, and she makes imaginative use of it in a chilling, star-maker performance.”

“Mezzo-soprano Jessie Raven, a Burlington native who has a growing career nationally, was a powerful presence as Azucena. With her rich, powerful and beautiful mezzo voice, she expressed the Gypsy's rage at the injustice as well as real tenderness for her "son." Raven proved riveting on stage.”

“In the role of the gypsy woman, Azucena, Vermont native, mezzo-soprano Jessie Raven gave us a tortured, vengeful characterization of Azucena that was real and powerful, she soared and her voice was strong and filled with remorse, and the audience clearly understood. Brava!”

“Certainly the star of the show, Jessie Raven as mezzo-soprano gypsy, Azucena.”

“Her distinguished mezzo voice was certainly perfect for the role. Her voice has blossomed since I heard her debut with New York City Opera in the title role of Carmen, almost two years ago. It is lusher in sound now, and Raven’s projection of the voice has grown with no tiniest hint of pushing. She is a remarkable actress as well, and her first entrance onto the stage, although unnoticed by cast members and not otherwise pointed out, made it possible for me to notice her immediately: she has that kind of stage presence. Her interpretations of the various arias and duets and ensembles kept us aware of Azucena’s semi-madness and her importance to the plot. It was an impressive performance that I feel certain will soon be toasted in all the major opera houses world-wide.”