"Janice Felty, rapidly turning into a secret undergound diva . . . sang with affecting but unaffected sweetness, with purity and bravado, as needed." (Berio, Folk Songs, L.A. Philharmonic — Los Angeles Times)

"Janice Felty, absent too long from Boston, was featured by Collage New Music in Martin Brody's powerful and eloquently orchestrated Millennium Sightings,. In full-toned, glamorous voice, she delivered two contrasting mystical poems ...with passionate poetic insight in Brody's monumental setting."   (Boston Phoenix)

"Janice Felty sang splendidly". (Britten, Spring Symphony, Brooklyn Philharmonic — New York Times)

"Felty paraded her own advantages — a vibrant, meaty, forward sound where "singing out" was required, a chameleon-like adaptability, not to mention quickness, charm, and heaps of class and style." (Berio, Folk Songs — The Boston Globe)

"Felty sang them from memory — a rarity among contemporary music specialists — and communicated the red-hot emotions as if they were part of her."  Harbison, Mirabai Songs, Pittsburgh Post-Gazette)

"Janice Felty's performance ranged from the most exquisite and subtle inflections to full sung emotional proclamations. Her musicianship was impeccable. The impact was stunning."  (Harbison, Motetti di Montale, Eugene Register Guard)

"Janice Felty, Peter Sellars' justly celebrated Dorabella, brought gleaming tone, a marvelous legato line and fine verbal point to the wide-ranging solos." (Harbison, The Natural World, Los Angeles Times)

"Miss Felty's hysterical 'Austrian woman', recounting her time locked in her stateroom while the hijackers controlled the ship, was an outstanding piece of musical acting." (Adams, The Death of Klinghoffer, Opera)

"Janice Felty commands the necessary beauty of tone and succeeds in sketching a comprehensible character from exceedingly limited dramatic materials." (Machover, Valis, Boston Globe)

"Sincerity, when it goes public, as here, is no simple matter. Felty had its true measure, singing it even more opulently than a decade and a half ago." (Zwillich, Passages, Boston Globe)

"'Pierrot' got a fascinating performance. Felty delivered the text confidently and with uncommon luster of timbre; she is a superb musician and ensemble singer, matching the colors of her voice to the kaleidoscope of Schoenberg's instrumentation." (Pierrot Lunaire, Boston Globe)

"Notable performances include Janice Felty's acid-tongued Mrs. Jones." (Weill, Street Scene, Checkpoint)

"Only mezzo-soprano Janice Felty, who seems incapable of giving an unaffecting performance no matter what the role, lent depth to her part, that of the here aptly named Beauty." (Glass, La Belle et la Bête, San Francisco Examiner)

"John Harbison's Mirabai Songs gained much from the dancing word rhythms and keen inflections that Felty bestowed on the part." (The Boston Globe)

"Janice Felty's light, lyrical tone and the delicate partnership of the two stringed instruments give these settings of poems from James Joyce's 'Pomes Penyeach' an enchanting, languid, fin-de-siècle atmosphere." (Lennon, Ghostfires, Fanfare)

"Felty, by turn as the narrator, the conniving general, the dutiful official, the studious son, the god in disguise, sang with character, clear diction and lovely sound." (Weir, Consolations of Scholarship, Boston Globe)

"Few premières anywhere could have been blessed by a finer introduction than that provided Harbison's Motetti di Montale by mezzo Janice Felty and pianist Edward Auer. The singer's memory accomplishment alone was awesome, and she sang with complete understanding of the Italian texts, bringing color and sensitivity to every phrase." (Byron Belt, Star Ledger)

"Janice Felty is striking in sound, appearance and sureness of purpose as Aglaonice." (Glass, Orphée, Boston Globe)

"Felty has a gift for authoritative declamation and her rich and accurate vocal sound was an ideal vehicle for Seeger's Three Songs for Voice, Cello and Piano". (The Washington Post)