…Jana McIntyre continues to forge a path for herself with her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News), “with movie star looks and the poise to match, she has everything it takes to make it to the top.” (Opera Wire).

She begins the 23/24 season with a return to Opera Santa Barbara for La Divina: The Art of Maria Callas. Additional season engagements include debuts with the New Jersey Symphony Orchestra for Carmina Burana and the Sacramento Choral Society and Orchestra for their Rodgers and Hammerstein Celebration. She also returns to Sacramento Philharmonic & Opera, debuting Adele in their new production of Die Fledermaus and joins the roster of San Francisco Opera for their productions of Innocence (Kaija Saariaho) and Die Zauberflöte.

Last season saw Jana step into the role of Giulia from Rossini’s comic one-act La scala di seta with Opera Santa Barbara and Cinderella with Tulsa Opera for their new production of Sondheim’s Into the Woods. She debuted Carmina Burana with the Santa Barbara Symphony and the Seattle Symphony. Additional concerts included her Carnegie Hall debut with the American Symphony Orchestra in Richard Strauss’ rarely heard Daphne (Title Role) conducted by Music Director Leon Botstein.

Her 2021-2022 season included Jana’s first title role debuts as Semele in Semele in with Opera Santa Barbara as well as Aminta for a new production of Die Schweigsame Frau with Bard SummerScape Festival. Workshop and concerts of recently written music rounded out the season. With the Rally Cat in New York City, she created the role of Marianne in recording and workshop of Aferidan Stephens and Marella Martin Koch’s Elinor and Marianne based on the Jane Austen novel Sense and Sensibility. She also performed in chamber concert with Jerod Impichchaachaaha Tate and Tulsa’s Signature Symphony.

Ms. McIntyre was able to perform through the pandemic singing Norina in Don Pasquale for her hometown debut with Opera Santa Barbara as well as joining the rosters of Palm Beach Opera (Die Zauberflöte) and Tulsa Opera (Rigoletto). She was scheduled to make company debuts with Opera Theatre of Saint Louis and Canadian Opera Company among other notable returns to theaters which have been postponed/canceled due to the pandemic.

She was recently named a George London Foundation top prize winner as well as a Metropolitan Opera National Council grand finalist. She performed Ännchen in Heart Beat Opera’s new production of Der Freischütz and joined Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City and for whom she was to return as Sister 1 in Mark Adamo and John Corgliano’s newly commissioned Lord of Cries which was canceled in March of 2020. She also debuted with the Sacramento Philharmonic singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “Mozart Favorites” Concert.

During the 2018-2019 season, Ms. McIntyre reprised the role of The Queen of the Night in The Magic Flute with Toledo Opera as well as with Opera Grand Rapids. She also made company debuts with Arizona Opera (Le Nozze di Figaro), Santa Fe Opera (Jenůfa), and with Tulsa Opera singing Zerlina in Don Giovanni as well as Water in Rachel Portman’s The Little Prince for which women held both posts of director and conductor. Additionally, she covered La Fée in Laurent Pelly’s iconic production of Cendrillon at the Lyric Opera of Chicago.

In the 2017-2018 season Miss McIntyre performed with the San Francisco Symphony as Pamina and Die Königin der Nacht in selections from Die Zauberflöte at Stern Grove. She also presented the Wolf Italienisches Liederbuch and Strauss’ Brentano Lieder in concerts under the auspices of the San Francisco Opera Center. In New York City, she made her role debut as Lauretta in Gianni Schicchi with City Lyric Opera and she finished the season as an apprentice with the Santa Fe Opera covering Najade in Tim Albery’s production of Ariadne auf Naxos.

Some career highlights include critical acclaim for her portrayal of Andromède in the American premiere of Ibert’s Persée et Andromède which made the New York Times “Best Classical Music of 2016;” her professional debut as the Amore in Gluck’s Orfeo ed Euridice alongside Anthony Roth Costanzo and Kiera Duffy in an installment of “Orphic Moments” with Brooklyn’s National Sawdust Theater under the baton of Matthew Aucoin; as well as performing in the west coast premiere of Jonathan Scheffer’s Blood on the Dining Room Floor (Rose 1) at age 19.

Additional operatic roles include the “saucy and domineering” (San Francisco Classical Voice) Serpina, in La serva padrona with Merola Opera Program where she also covered Despina (Così fan tutte) and Clorinda (La Cenerentola), Miss Wordsworth (Albert Herring), Königin der Nacht (Die Zauberflöte), La Fée (Cendrillon), Zerlina (Don Giovanni), Leïla (Les pêcheurs de perles) Drusilla (L’incoronazione di Poppea), and Señora Grazia in the world premiere workshop of Roger Bourland’s The Dove and the Nightingale. In the Clark Library of Los Angeles, Ms. McIntyre sang as a soprano soloist in James Darrah’s staging of Handel’s L’Allegro, il penseroso, ed il moderato under the musical preparation and direction of Maestro Stephen Stubbs.

Equally at home in concert and recital repertoire as she is on the opera stage, Jana most recently sang the soprano solo in Mozart’s Requiem with Signature Symphony in Tulsa, Oklahoma. In 2016 she joined Maestro George Manahan to perform Joaquin Rodrigo’s Cuatro Madrigales Amatorios in concert with the Manhattan Chamber Sinfonia and also sang Mater Gloriosa in Mahler’s 8th Symphony with the Manhattan Oratorio Society at St. John the Divine Cathedral. She later performed and recorded Mahler 8 as a part of David Briggs’ organ transcription which was released by Albany Records in 2016.

Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Metropolitan National Council, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation, and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.

Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Masters in Vocal Performance from the Manhattan School of Music.