Anthony Tommasini, The New York Times
April 19, 2013 review of the April 18, 2013 concert by Ensemble Signal, “Composer Portrait of Oliver Knussen”

“The impressive performers were members of Ensemble Signal, conducted by Brad Lubman…The pungent harmonic language is tart and captivating. And the piece really dances. A swinging early episode seems deceptively cheerful. Soon a jazzy clarinet interrupts and the rhythmic flow fractures into jagged bursts…The performance was dazzling.”

 
 

Arlo McKinnon, Opera News Magazine
August 2013 review of April 13, 2013 Ensemble Signal concert of Oliver Knussen’s music, Miller Theater, NY NY

"...As lovely as those features were, the highpoint of the piece is its fourth and final movement, an adagio, written in homage to the late Polish–English composer, Andrzej Panufnik, whose beautiful music has unfortunately faded from its rightful place in our concert life. This movement, as long as the other three combined, made emotional use of the English horn, here lovingly played by Jackie Leclair”.

Martin Bernheimer, The Financial Times
June 10, 2013 review of June 9, 2013 concert of various artists celebrating composer Charles Wuorinen’s birthday, Guggenheim Museum, NY NY

“Iridule (2007) served as a rugged yet never ragged overture, its harmonic and rhythmic knots nonchalantly untied by the oboist Jacqueline Leclair plus six fine accomplices.”

 
 

Vivien Schweitzer, The New York Times
September 22, 2007 review of September 20, 2007 concert of New Millennium Ensemble at Symphony Space, NY NY

“…Iridule, inspired by a passage from Nabokov’s “Pale Fire,” is more colorful and communicative than some of his sterner earlier works. There are snatches of jaunty melody in the oboe over a rhythmically vibrant tapestry of jagged fragments from the other six instruments: flute, bass clarinet, violin, cello, vibraphone/marimba and piano. The oboist Jacqueline Leclair, a guest soloist, played with finesse and flair.”

 

Allan Kozinn, The New York Times
April 18, 2007 review of April 16th, 2007 concert by Sequitur in Merkin Hall, NY NY, world premiere of Steven Burke’s Untitled Universe

“Steven Burke’s “Untitled Universe” (2005), a quartet for English horn and strings, is more conventional, with a lyrical, plaintive English horn melody (played with an almost vocal inflection by Jacqueline Leclair) set against melancholy, mildly dissonant string scoring.”

 

 
 

The New Yorker, June 7, 2004

“The wonderful oboist, Jacqueline Leclair is the soloist in Rands' Oboe Concertino...”

The New Yorker, November 17, 2003

“Bernard Rands' MEMO 8, for solo oboe, played by the lively oboist Jacqueline Leclair...”

 
 

Richard Dyer, Boston Globe
June 28, 2003 review of Berkshire Opera's La Traviata opening night:

“There was a...superior 40-piece orchestra...and oboist Jacqueline Leclair added meaningful solos.”

Paul Griffiths, The New York Times, October 24, 2001

“Dmaathen, for oboe and percussion, had Jacqueline Leclair precise in blowing chords and astonishing in creating a high whistle...”

 
 

Allan Kozinn, The New York Times, March 20, 2001
Review of Maurizio Pollini's Carnegie Hall "Perspectives" March 14, 2001 concert:

“Jacqueline Leclair met [Berio Sequenza VII's] challenges with an electrifying agility.”

David Cleary, New Music Connoisseur, January, 2001
Review of July 2000 Warebrook Festival concert:

“The evening concert was sheer joy. Rands' Concertino for oboe and seven players is splendid-- a puckish, clever, wonderfully crafted number full of jittery hiccupping gestures leavened with more expressive moments....Performances were nearly all first-rate. One can cite Jacqueline Leclair's stunning oboe playing (featuring a huge tone and sparkling technique) in the Concertino.”

 
 

Jan Jeziori, The Buffalo News, Buffalo, New York, June 15, 2000
Review of "June in Buffalo" performance of Rands Concertino:

“CONCERTINO is a delight…Oboist Jacqueline Leclair…did a fine job throughout…dynamic…virtuosic”

Jerry Tabor, The Computer Music Journal, Summer 1998
“Summer Island, for oboe and tape, brilliantly explores the extended timbral and technical possibilities of the oboe…Jacqueline Leclair…gives one of the finest, most colorful performances of contemporary oboe work I have yet heard.”

 
 

Jeanne Belfy, The Double Reed, April 1998
Review of Roger Reynolds Summer Island, Neuma label

“…Leclair's brilliant mastery of her instrument in stunning displays of runs, rapid double trills and articulations…rivet the listener's attention…Her control is awesome and her attitude exuberant — all this and she even has a beautiful tone, rich and vibrant.”

Mike Silverton, Fanfare, Nov/Dec 1996
Review of Roger Reynolds PARIS PIECES, Neuma label

“…the remarkably seductive SUMMER ISLAND, for oboe and computer-generated tape...radiates a near-to-hallucinatory sinuosity. Oboist Jacqueline Leclair, a New York area freelance, sounds terrific. I hear passages that might well give Heinz Holliger pause.”

 
 

Antonin Matzner, Lidove Novoiny, Prague, Czech Republic, April 5, 1996
Review of Alice Tully Hall concert of SEM Ensemble

“Very much of a surprise was the programming of Telemann's Overture in B-flat Major…This was a very competent and stylistically correct rendition with the dominant solo oboe part exceptionally performed by Jacqueline Leclair…”