Highlights that deserve mention include the virtuosic whimsy demonstrated by Jessica Aszodi
— New York Times
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
La Jolla Symphony
…splendidly passionate. She is one of the finest actress-singers in the country.
— The Age
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Jessica Aszodi

Jessica's career could best be described as genre-bounding and label-defying. She has premiered dozens of new pieces, performed works that have lain dormant for centuries, devised new collaborative projects, sung roles from the standard operatic repertoire and worked with a constellation of artists from the far reaches of the musical palette.   Her performances have been described as “..thrilling..” (LA Times) and “..intense..” (NY Times). Her voice has been praised for its “utmost security and power” (Chicago Tribune) while the media in her native Australia have dubbed her “one of the finest actress-singers in the country” (The Age).

She has been a soloist with ensembles as diverse as ICE, the Melbourne, Sydney and Adelaide Symphony Orchestras, Pinchgut Opera, the Tirolean Symphony Orchestra, Victorian Opera, Sydney Chamber Opera, and in the chamber series of the San Diego and Chicago Symphonies. 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, Vivid Sydney, BIFEM, the Melbourne and Adelaide Festivals, 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 the Resonant Bodies Festival (Australia,), artistic associate of BIFEM, and a 2017 artist in residence at ‘High Concept Labs’ (Chicago). She holds a Doctorate of Musical Arts from the Queensland Conservatorium, a Masters of Fine Arts from the University of California, teaches voice, and has written scholarly articles for several books and journals.

Representation

For all Australasian performance enquiries please contact Alex Robertson-Jervis at 'Diva Management'

  alex@divamanagement.com.au 

Contact

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

...dispatched with utmost security and power...
— Chicago Tribune
Aszodi brought fiery, operatic zeal to her arias, her opulent, brightly colored soprano voice commanding favorable attention in every register.
— SanDiego.com
...putting over the often fiendishly set texts, Jessica Aszodi was superb, singing with clarity, meaning and pinpoint accuracy.
— Limelight

More Press....

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

”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