Photograph of Jami Tyzik

Press

“Jami Tyzik has a dusky, plummy sound, and her magnificent performance of He Was Despised came close to creating the illusion of stopping time.”

-John Pitcher, Rochester Democrat and Chronicle

“The four singers offered a great deal of art...Tyzik was very good at the warm, rounded, and yet suspenseful tone...”

-Münchner Merkur

“And one absolutely must not fail to mention Cherubino, who suits Jami Tyzik extremely well, especially in the spirited aria “Non so piu cosa son, cosa faccio."

-Süddeutsche Zeitung

“In What Child is This, which also featured a wonderful oboe solo, Jami revealed a beautifully supported, clear, clean voice with a rich and surprisingly darkish timbre. She soared convincingly to the showpiece high note at the end of O Holy Night.
In Mozart’s aria Voi che sapete, her phrasing was quite sympathetic to the operatic style.”

-Herman Trotter, The Buffalo News

“Tyzik has an impressive instrument and has little trouble filling a concert hall with her dusky, plummy, and thoroughly ingratiating sound.”

-John Pitcher, Rochester Democrat and Chronicle

“Vocalist Jami Tyzik joined with the orchestra with a pair of seasonal tunes, the most memorable being a moving Ave Maria.”

-Elaine Schmidt, Milwaukee Journal Sentinel

“In a lovely, warm mezzo-soprano, Jami sang two of the concert’s few religious pieces: an especially sensitive O Holy Night and Schubert’s famous Ave Maria. The opera artist lends a quiet wonder and joy to her words, easily creating an island of thoughtful calm.”

-Sharon McDaniel, Rochester Democrat and Chronicle

“Mezzo-soprano Jami Tyzik sang with a dusky, yet resplendent sound.”

-John Pitcher, Rochester Democrat and Chronicle

“Jami Tyzik opened the program with two Handel arias and immediately displayed a very fine mezzo voice, quite surprising in quality for a young singer, and highly promising for its future development. There was warmth of tone in Ombra mai fu matched by good feeling for phrasing, and this was further displayed in her presentation of Dido’s Lament from Purcell’s Dido and Aeneas.
But it was probably the group of four Brahms lieder that most strikingly displayed her potential. There was considerable maturity in her approach to their varying expressive content, with care for the German inflections of the text in each song.”

-W. L Hoffman, The Canberra Times