Kitty Oppenheimer is a dream image, the good inner voice of Oppenheimer himself.
Jeannette van Schaik portrays a passionate Kitty and her high Cs in the finale are very impressive.

— Opera Nederland ***** (operamagazine)

Doctor Atomic is one of this season’s most memorable opera productions. Oppenheimer's wife Kitty, the radiant soprano Jeannette van Schaik, becomes an extension of his inner emotional world.

— de Volkskrant **** (Jenny Camilleri)

Soprano Jeannette van Schaik has beautiful long solos in which Kitty (Oppenheimer) gives insight into her feelings, excellently sung and a sight for sore eyes in her blue robe.

— Place de l’Opera -operamagazine (Peter Franken)

Jeannette van Schaik as Kitty Oppenheimer sang beautifully and was like a mysterious siren.

— Trouw (Peter van der Lint)

The women come across as almost mythical Wagnerian characters: Kitty Oppenheimer (Jeannette van Schaik) like a version of Brünnhilde and Pasqualita à la Erda. In these passages, Adams' score is at its most lyrical, and at the same time its most Wagnerian, with both singers performing phenomenal Brünnhilde- and Erda-like vocal qualities, respectively.

— Basia con Fuoco (Neil van der Linden)

Jeannette van Schaik specifically stood out as the Innkeeper’s wife (Pani Paskova) in the final act, with notes filled with a gloom that Janácek gave to all his human figures.

— Place de l’Opera -operamagazine (Martin Toet)

Canellakis conducted a compelling performance of Janácek’s ‘'Cunning little Vixen’', carried by great singers. The human desires of all the animals gave you goosebumps of fun and emotion.

— **** NRC (Joep Stapel)

Jeannette van Schaik shared the leading role with the Noord Nederlands Orkest with her sparkling voice.. She has a beautiful timbre, subdued in Korngold, more powerful in Verdi’s Aïda and Gounod’s Jewel aria. The flawless high D in Strauss jr’s ‘'Csardas’ with which she concluded the concert was a form of higher culture.

— Leeuwarder Courant **** (Paul Herruer)

The New Year's concert was a feast of recognition, with vocal highlights by top soprano Jeannette van Schaik with her varied vocal contributions, exuberant and sometimes sentimental with colorful emotions…

Korngold's ‘'Mariettas Lied’', amazed merrily, thanks to her heartfelt interpretation.
She left an unforgettable impression with her high notes in the encore aria ‘'Klänge der Heimat’' from the operetta Die Fledermaus by Strauss jr.

— Meppeler Courant (Ton Henzen)

“.The young Dutch soprano Jeannette van Schaik has a special voice, opulent and intriguingly veiled in the center... Van Schaik makes the more famous repertoire, like Ombra di Nube by Refice or Morgen by Strauss, completely her own with sumptuous vocal lines...
Korngold’s Abschiedslieder could have been written for her...

She fully masters Strauss’s musical language, with enchantingly whispering soft passages and effortlessly soaring arcs.”

— de Volkskrant **** (Jenny Camilleri)

“She has a powerful sound, clear-warm timbre ánd acting talent.
With Respighi's cycle Deita Silvane she starts in an original way.
Korngold's beautifully sung Abschiedslieder and Strauss' Mädchenblumen are also not an every day occurence.

Van Schaik's effortless top notes sometimes seem to want to sound through a theater, but she also has a beautiful intimate, mezzo-like middle register. A strong debut by a singer with guts.

— NRC (Joep Stapel)

“With her beautiful voice, Jeannette van Schaik gives a very controlled, well- intonated rendition of a total of 22 songs, a true tour de force…
Refice’s "Ombra di Nube" was recorded as an intermezzo, in my opinion one of the most beautiful tracks on the CD.
Korngold's Abschiedslieder, Jeannette gives a beautiful rendition of these melancholic songs... This CD is an absolute must for fans of artsong.

— Place de l’Opera operamagazine (Peter Franken)

“Jeannette van Schaik is dazzling in the role of Ellen Orford. Her soprano voice is radiant and full of brilliance, her acting intense”

— De Volkskrant (Jenny Camilleri)

“All the soloists were vocally excellent, but the star role was undoubtedly for Jeannette van Schaik portraying Ellen Orford.”

— Friesch Dagblad

“Jeannette van Schaik was top notch and all that she needed to be as the schoolmistress Ellen Orford.”

— Leeuwarder Courant

“Jeannette van Schaik as Donna Anna really touched our hearts. 
Her singing was sublime and with great sensitivity, her compassion moved every time.”

“Vocally she was the most balanced of all. She mastered her role perfectly and therefor captured brilliant moments.

— Place de l’Opera operamagazine (Jacqueline van Rooij)

“Jeannette van Schaik lends Mimì’s character a voice with impeccable technique and diction.”

— Forum Opera .com

"Si mi chiamano Mimi" is very sensitively interpreted by Jeannette van Schaik with her beautiful voice aswell as beautifully acted."

— Theaterparadijs.nl

"Jeannette van Schaik gave a beautiful rendition of Elsa's aria 'Einsam in trüben Tagen' from Lohengrin."

— Place de l’Opera operamagazine (Peter Franken)

"Jeannette van Schaik was mightily good in the role of Anna (Nabucco). We are so lucky in the Netherlands with so much great singing talent!"

— Basiaconfuoco

"A selection of mainly young Dutch singers shone in these large-scale scenes, in which they were a beautiful sight for sore eyes in the hall, too." 
(A Village Romeo and Juliet - F. Delius, NTR Zaterdagmatinee)

— De Volkskrant *****

“Both the individual singing and acting performances of Hänsel and Gretel -sung by Nina van Essen en soprano Jeannette van Schaik- were very strong. They formed a pleasant couple who visibly had a lot of fun on stage.”

— NRC Handelsblad

(…) and 'Gretel', sung crystal-clear by Jeannette van Schaik.

— De Volkskrant

" The highlight of the evening was the "Czardas" from Die Fledermaus, sung by soprano Jeannette van Schaik. With her temperamental eyes and low-cut evening dress, she looked seductive as Rosalinde. After the word Lebenslust, she whipped the men up at the blazing pace of this Hungarian dance. She sparkled and charmed...

...As a finale, Jeannette van Schaik spoiled the audience with the aria "Meine Lippen, sie küssen so heiss" from Franz Lehàr's operetta Guiditta.
She bursted with passion during her crystal pure singing and charmingly threw red roses to a number of gentlemen in the audience."

— Cultuurblog.nl

“The sun sets on the sounds of ‘Il Tramonto’ by Ottorino Respighi.
Even afterwards, the audience is still silent because of the velvet voice of soprano Jeannette van Schaik.”

— De Volkskrant