"The cast of 26 includes... Jo Ellen Miller.. as Abigail Adams.  Abigail appears in John's
reveries, and in the lovely person of Ms. Miller, she exemplifies the strength and
endurance of the era's American women. Her duets with Marhold, himself a fine singer,
are gorgeous, and her brief solo near the end of the play, 'Compliments,' soars.  Miller is
wonderful."
Philip Dorian: "Politics- Not As Usual- On Count Basie Stage, Phoenix Productions '1776'."
Two River Times, November 2006
"Soprano Jo Ellen Miller was perky, fresh, and vocally delightful in 'A Little Bit in
Love' (from 'Wonderful Town') and the tender, affirmative 'Take Care of This House,' from
'1600 Pennsylvania Avenue' (Bernstein's last broadway show)."
Richard Dyer: "Bernstein's music, powered by Pops". Boston Globe, 6/16/06
"Jo Ellen Miller was fetching in a poignant performance of 'A Little Bit in Love' from
'Wonderful Town' and in 'Take Care of This House,' the one genuine hit from '1600
Pennsylvania Avenue'."
Clarence Fanto, "A Tribute to Lenny". Berkshire Eagle, 7/15/06
"Soprano Jo Ellen Miller was delightfully fresh in three lighter songs of more
recent vintage...It was amazing to hear how easily these two sopranos could segue from
singing Bernstein show tunes with the Pops into Babbitt's world, but they delivered both with
the same communicative zest."
Richard Dyer: "BSO steers clear of negotiations over commercial releases." Boston Globe,
8/11/06
"Tomasz Golka had the most demanding job, leading Milton Babbitt's 'From the Psalter.'...
The music is as complicated and striking in meter, language, and emotional directness as
the texts...Soprano Jo Ellen Miller sang with crystalline clarity."
Richard Dyer: "A sonically invigorating day at Tanglewood." Boston Globe, 8/8/06
"Soprano Jo Ellen Miller, a Tanglewood Fellow, elegantly scaled the high vocal line
of Milton Babbitt's bristling From the Psalter, capably conducted by Tomasz Golka."
Lawrence Budmen: "Tanglewood and Beyond." Music and Vision Daily 8/28/06
"The voices are splendid. Jo Ellen Miller, Lisa Chavez and Kala Maxym are the sisters
who carry most of the solo sections."
Stuart Duncan: "Sun, Sand, and Swordplay: New Jersey Opera Sails with The Pirates of
Penzance."  Packet Online, July 18, 2007
"Jo Ellen Miller's Barbarina was a winner."
Mark Kanny: "Opera Theater Lovingly Stages Charming 'Figaro.'"  Pittsburgh
Tribune-Review, September 2, 2007
"Giannetta, leader of the peasant girls, sung by the very capable Studio Artist Jo Ellen
Miller."
Richard Storm: "Sarasota Opera's Elixir a welcome Valentine gift."  Sarasota Herald-Tribune,
February 15, 2009.
"...the smaller role of Giannetta, a peasant girl, was handled with aplomb by the
bright-voiced Jo Ellen Miller, a current Studio Artist."
June LeBell: "The Elixir of Love."  The Sarasota Observer, February 19, 2009
"...Young soprano Jo Ellen Miller is an American artist at home in many
vocabularies.  For half an hour, she rode Bishop's alternately elliptical and stark
language as masterfully as Carter's tender dissonances.  I wish they'd given it
twice."
Andrew Patner: "CSO's MusicNOW series gets another boost."  Chicago Sun-Times, March
4, 2009.
"Carter's 'A Mirror on Which to Dwell"... received a hypersensitive
performance from soprano Jo Ellen Miller and nine instrumentalists.  
Carter's music seldom is thought of as tender, but it often sounded so
here, in an interpretation of some delicacy and warmth rather than
only cerebral quest."
Alan G. Artner: "Small-scale Boulez still exceptional." Chicago Tribune, March 5, 2009.
Critical Acclaim

"Jo Ellen Miller was the soprano soloist in the first two of Mr. Boulez’s
“Improvisations sur Mallarmé” (1957), a pair of settings in which the voice is offset by
layers of percussion, as well as harp, and in “Improvisation II,” piano and celesta. This is
music from the heart of Mr. Boulez’s more fearsome style, and if its rhythmic complexities
have lost their terrors today, the peaky angularity of the vocal writing is still daunting. Ms.
Miller seemed unfazed by it. She sang both works powerfully and with a lovely,
rounded tone."
Allan Kozinn: "Boulez and Mozart in Disparate Balance."  New York Times, December 8,
2009.
"Soprano Jo Ellen Miller was a charming Zerlina, the peasant girl who catches the
Don's fancy, both theatrically and vocally."
Jim Lowe: "Don Giovanni Still Gets his Girl(s)." Rutland Herald, August 15, 2010.

Jo Ellen Miller
Soprano
Photo credit: Mark Bradley Miller
"My goodness, American vocalist Miller, who began her training at the University of
Michigan, is comfortably at home throughout the melodies and German lyrics by
Richard Strauss and Mahler.  She takes no mind of gender, choosing to simply become
the character in each song, no easy task... It works because Miller stands out, and with
her more subtle vocal approach, duplicates the feelings of innocence and wonder
simultaneously generated by the music."
William Kerns:  "Numerous standouts at LSO concert," Lubbock Avalanche Journal, March 5,
2011.
"The clear sweet bell tones of Miller’s swirled...in the tuneful, modal music evocative of
the region."
Sherri Rase: "The Sorrow of 'Sumeida's Song,'" Q Onstage, 2011