Highlights that deserve mention include the virtuosic whimsy demonstrated by Jessica Aszodi
— New York Times
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Aszodi gave a hugely impressive, engrossingly focussed and vividly precise reading of Gerard Grisey’s Four Songs ... Aszodi cut through the shadows with fierce brilliance to rage against the dying of the light
— Sydney Morning Herald
Plea for peace
…splendidly passionate. She is one of the finest actress-singers in the country.
— The Age
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Jessica Aszodi

Aszodi's career could best be described as genre-bounding and label-defying. The Australian-born, London-based vocalist has premiered dozens of new pieces, performed long neglected works, devised pieces, projects and festivals, sung roles from the standard operatic repertoire and collaborated with a constellation of artists from the far reaches of the musical spectrum.  Her voice has been praised for its “utmost security and power” (Chicago Tribune) and in her native Australia she was described as “one of the finest actress-singers in the country” (The Age). Recent performance highlights include the world premiere of Liza Lim’s epic “Atlas of the Sky” for voice, percussion and crowd, and Berio’s “Folksongs” alongside Tabea Zimmerman and Musikfabrik at Beethoven-Festwoche.

Her voice has an unusual range, both in terms of colour and pitch, making it possible for her to perform repertoire across genres (from experimental to baroque, folk to opera) and voice types, from contralto (in signature works like Boulez' Le Marteau sans maître) to soprano (like Grisey's Quatre chants pour franchir le seuil ).

She has been a soloist with ensembles as diverse as the Melbourne, Sydney and Adelaide Symphony Orchestras, Ensemble Musikfabrik, Pinchgut Opera, the Tirolean Symphony Orchestra, Victorian Opera, Sydney Chamber Opera, ICE, and in the chamber series of the San Diego and Chicago Symphony Orchestras. Her operatic roles include Eve (Stockhausen’s Dienstag aus Licht), Socrates (Satie’s Socrates), Aminta (Mozart’s Il re pastore), Donna Elvira (Don Giovanni), Sesto (Guilio Cesare), Popova (Walton's The Bear), Rose (Elliot Carter's What Next?) and Echo (Ariadne auf Naxos).

Jessica can be heard on recording for Chandos, Ars Publica and Hospital Hill and has sung in festivals around the world, including Klangspuren, Beethoven Festival Bonn, Resonant Bodies, Vivid Sydney, Aspen Music Festival, BIFEM, the Melbourne and Adelaide Festivals, Darmstadt, Aldeburgh, Tectonics and Tanglewood.  Aszodi has twice been nominated for the Australian Greenroom Awards as ‘best female operatic performer’ - in both the leading and supporting categories. She is co-director of Resonant Bodies Australia and artistic associate of BIFEM. She holds a Doctorate of Musical Arts from the Queensland Conservatorium, a Masters of Fine Arts from the University of California and has written scholarly articles for several books and journals.

Representation

 

For worldwide performance enquiries please contact Isla Mundell Perkins at Intermusica

imundell-perkins@intermusica.co.uk

Contact

For all other enquiries please write to Jessica at: jaszodi@gmail.com

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Exquisitely crafted songs by Poulenc proved the concert’s high point... Jessica Aszodi deployed a full arsenal of vocal colors and sure intonation to narrate these hallucinatory vignettes.
— Washington Post
Aszodi made this rendition special. Her powerful voice blazed through Renga’s loudest playing, and her phrasing and stage presence caught the loneliness of the second song, the happy delicacy and brash swagger of the fourth song, and the melancholy beauty of “Der Abschied”
— San Diego Union Tribune (Mahler's Das Lied von der Erde), 2019
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More Press....

Aszodi returned for a set of Weill’s cabaret-influenced songs, beginning with a lengthy excerpt from “Seven Deadly Sins.” Here she could unleash more of her voice’s brazen power, braying and belting as both of the sisters named Anna.” (Washington Post, 2018 (Poulenc & Weill at the National Gallery of Art, DC)

”Aszodi’s physical and vocal performances were both striking. When furiously hitting a drum suspended from a metal frame with a rope, not even the rope’s backlash across her body made Aszodi flinch, leaving her stage presence unaltered. Lim, who worked closely with Aszodi, made use of the soprano’s flexible vocal range, athletic stamina, and extensive palette of timbres. Aszodi has an exceptional ability to change quickly between operatic and deep, guttural singing” Tempo, 2018 (Atlas of the Sky, with Speak Percussion, Melbourne Recital Centre)

”It was a showcase for its performers, and Soprano Jessica Aszodi, in particular, was breath-taking.” Tempo, 2017 (Ear Taxi Festival, Chicago)

”...putting over the often fiendishly set texts, Jessica Aszodi was superb, singing with clarity, meaning and pinpoint accuracy.” Limelight, 2016 (Grisey with Sydney Symphony Orchestra)

”Soprano Jessica Aszodi was an outstanding soloist, remaining ­focused and clear-voiced in both staccato yelps and softer, more smoothly phrased snatches.” The Australian, 2016 (Grisey with Sydney Symphony Orchestra)

”Jacinte, played by Jessica Aszodi, carried the story line along boldly with her precise comic timing, warm stage presence and soaring soprano” Sydney Morning Herald, 2015 (L’Amant Jaloux, Sydney)

”Jessica Aszodi displayed a sure sense of line and an appealing range of tone colors” The Australian, 2015 (L’Amant Jaloux, Sydney)

“…the part of the maid Jacinthe, sung by Jessica Aszodi and played with great élan and invention, carried this vein of comedy…” Australian Stage, 2015 (L’Amant Jaloux, Sydney)

“running about while running the household and just about the entire opera with acute bubbliness as the maid Jacinte, soprano Jessica Aszodi impresses across a vocal range as hearty as it is lucent” – Opera Chaser, 2015 (L’Amant Jaloux, Sydney)

“Jessica Aszodi as the maid Jacinte had a wonderfully even sound and flexible delivery through her entire range.” Bachtrack, 2015 (L’Amant Jaloux, Sydney)

”... a luminous Imogen. Her demeanour and pure, warm soprano glowed...” Classic Melbourne, 2015 (Fly Away Peter, Melbourne)

“purity and clarity, with delicate emotional nuance” The Age, 2015 (Fly Away Peter, Melbourne)

”Jessica Aszodi, as Jennifer, is magnetic, and copes effortlessly with the wide tessitura. This is a brilliant performance – very funny too... “ The Australian Book Review, 2014 (The Riders, Melbourne)

”...soprano Jessica Aszodi brings refined technique to her performance as the missing wife Jennifer – making her almost sympathetic into the bargain.” Sydney Morning Herald 2014 (The Riders, Melbourne)

”Aszodi’s fine soprano gives a soaring quality to Jennifer’s ethereal presence...” Herald Sun 2014 (The Riders, Melbourne)

” the most vivid vocal performances were in supporting roles: Jessica Aszodi and Katherine Maysek as the witches” Alastair Macaulay, New York Times, 2013 (Dido and Aeneas, Tanglewood)

“Soprano Aszodi brought fiery, operatic zeal to her arias, her opulent, brightly colored soprano voice commanding favorable attention in every register.” Ken Herman, Sandiego.com, November 2013

”Jessica Aszodi’s portrayal of Rose was nothing short of extraordinary... Aszodi specialises in adventurous music and this role suits her down to the ground; her vocal range, musicality and theatrical daring furnished Rose and the performance as a whole with an electrifying energy.” Artshub, 2012

“Then there’s soprano Jessica Aszodi, who as soon as she began intoning the work’s opening phrases, had your full attention. She has a voice that can take you places...” Jim Chute, San Diego Herald Tribune, 2011

“…Aszodi is splendidly passionate. She is one of the finest actress-singers in the country” – John Slavin, The Age, 2010

“…as her son Sesto, Jessica Aszodi confirmed her presence as one of our most compelling emerging artists.” Peter Burch, The Australian, 2010

“The program was intelligently chosen …The singing was adventurous, inspired, daring … there was no doubting the technical beauties that lay within - in particular, Aszodi’s version of Weill’s Youkali and the Britten songs… The performers, in variations on slinky black could have been straight from a Brassai silver-nitrate print” – Michael Shmith, The Age, 2010

“Jessica Aszodi was vocally beautiful and dramatically controlled as Popova, the attractive, grieving widow…” – Peter Burch, The Australian, 2010

“Melbourne-based soprano Jessica Aszodi further enhanced her reputation as a fine interpreter of contemporary vocal repertoire with an intensely varied performance at the Melbourne Recital Centre… Dallapiccola’s Quattro Liriche di Antonio Machado allowed Aszodi to display the mastery of character she has developed in her operatic experience; An impressive performance that was one of the evening’s highlights.” Mark Viggiani, Resonate Magazine, 2009

“Brilliant, assured and consistently thrilling is Aszodi’s dreamy shepherd. Her rendition of L’amero saro costante is of such exquisite beauty it is worth the price of the ticket alone” – Clive O Connell, The Age, 2008

“Aszodi has a rich voice of surprising dynamic and tonal range with wonderful power and expressive flexibility, combined with nascent imagination for colour and dramatic presentation… a tour de force.” -Peter McCallum, Sydney Morning Herald, 2008

“Soprano Jessica Aszodi gave a startling display of technique with some improbably high tessitura singing and rode impressively above a surging instrumental ferment” Clive O Connell, The Age, 2006

“The highlight of my [Melbourne] festival… was performed by 19 year old soprano Jessica Aszodi. If this festival has a spirit, Aszodi is it. Her voice is rich, her legato effortless and her interpretive skills bare comparison to her role model the late Cathy Berberian. It was clear from her performance that she took pleasure in her great gift” – John Slavin, The Age, 2005