"This is a most judicious pairing...[the Brettl-Lieder] are lyrical and accessible...[they] take a highly stylised and sophisticated approach to the double entendre, symbolism and eroticism of the texts. Soprano Jennifer Goltz sings them as such. One can almost imagine her on the stage of a smoky cafe, teasing the crowd with suggestive gestures and entrancing patrons with a voice full of subtle allure and sprightly energy. On disc, she is captivating enough. The connection [between the Brettl-Lieder and Pierrot Lunaire] seems to have informed Goltz and the performers of the slyly names ensemble, Inauthentica, as well. She is brilliant again, and the California-based ensemble present Pierrot as if they had played it night after night in a theatre. It's a charged performance; with all the musicians acting like characters themselves in the twisted tale. While you get more value with other Pierrot recordings paired with Schoenberg's more famous music, this disc is a preferable way to enter that 20th-century masterpiece."
Gramophone ~ July 2008

"The idea of pairing...Pierrot Lunaire with [Brettl-Lieder] is a stroke of genius. Far from being an example of disparate or contrary programming, one easily is able to discern the “cabaret” origins of Pierrot... Jennifer Goltz makes a fine swipe at both of these works, her Brettl-Lieder being among the best, and she knows how to sell the work. Goltz holds her own, and considering the quality of the Brettl-Lieder, I could easily live with duplication. Besides, Goltz brings a certain sense of the non-clinical to the work that is very attractive. Fine sound, excellent performances from a surprising source, and one to be commended."
Audiophile Audition ~ June 2008

Jennifer Goltz specializes in the performance of new music and fin de siècle art song. She has been likened to Jan deGaetani for her enchanting tone, flexibility of timbre, keen accuracy, and compelling, expressive performances. Ms. Goltz has premiered works written for her by composers such as Evan Chambers, Andre Myers, Kristin P. Kuster, Gabriela Frank, and Logan Skelton. Her ten-year affiliation with the new music ensemble Brave New Works has yielded performances across the country of such works as Leslie Bassett’s Pierrot Songs, William Bolcom’s Briefly It Enters, George Crumb’s Madrigals, Bright Sheng’s Three Chinese Love Songs, and Alberto Ginastera’s Cantata para America Magica, as well as the premieres of works such as Andrew Mead’s Let the Air Circulate and Far Cry, Carter Pann’s Women, and Sea Changes by Forrest Pierce. At the invitation of the composer, Ms. Goltz performed Luciano Berio’s Circles with Klangforum Wien at the 1999 Salzburg Music Festival. With French cabaret specialist Stephen Whiting she has given lecture-recitals on early cabaret, most recently at the Chicago Humanities Festival. She has given celebrated performances of Mozart’s Requiem and Mass in C Minor and Haydn’s Paukenmesse in Los Angeles and Vienna and Barber’s Knoxville: Summer of 1915 in Timisoara, Romania with Filarmonica Banatul. She can be heard singing Evan Chambers’ Three Tannahill Songs on Cold Water, Dry Stone (Albany Records) and Logan Skelton’s An American Circus, with baritone Stephen Lusmann, on Centaur.