Reviews

Die Frau in Christian Diendorfer’s opera Die Wand
at The Landestheater Linz, Austria, September 2019
 

"...Die Singstimme - hervorragend Jessica Eccleston - die beinahe romantisch einen

gewissen Ruhepunkt suggeriert..." 

"Singer - the outstanding Jessica Eccleston - who almost romantically suggests a certain

resting point... "

OÖNachrichten, September 2018

Die Frau in Christian Diendorfer’s opera Die Wand
at The Landestheater Linz, Austria, September 2019
 

"...Die Singstimme - hervorragend Jessica Eccleston - die beinahe romantisch einen

gewissen Ruhepunkt suggeriert..." 

"Singer - the outstanding Jessica Eccleston - who almost romantically suggests a certain

resting point... "

OÖNachrichten, September 2018

 
 
 
 
Die Frau in Christian Diendorfer’s opera Die Wand
at The Landestheater Linz, Austria, September 2019
 

"...Die Singstimme - hervorragend Jessica Eccleston - die beinahe romantisch einen

gewissen Ruhepunkt suggeriert..." 

"Singer - the outstanding Jessica Eccleston - who almost romantically suggests a certain

resting point... "

OÖNachrichten, September 2018

 
Olga in Tchaikovsky's opera Eugene Onegin
at The Landestheater Linz, Austria, April 2018

"Jessica Eccleston eine fröhliche und verspielte Olga – auch sie als Sängerin restlos überzeugend"

"Jessica Eccleston is a cheerful and playful Olga - also as a singer she is completely convincing "

Online Merker, Helmut Huber, April 2018

Marguerite in Berlioz’s opera La Damnation de Faust
at The Landestheater Linz, Austria, February 2018

“...Marguerite, der Jessica Eccleston soliden Stimmen-glanz verleiht..."

 

"a Marguerite from Jessica Eccleston's robust and shining voice..."

 

Der Standard, February 2018

 
 
Marguerite in Berlioz's opera La Damnation de Faust
at The Landestheater Linz, Austria, February 2018

“Jessica Eccleston ist eine Marguerite, deren Mezzo Innigkeit verströmt."

"Jessica Eccleston is a Marguerite whose mezzo exudes intimacy. "

Kurier, Helmut Mayer, February 2018

Marguerite in Berlioz’s opera La Damnation de Faust
at The Landestheater Linz, Austria, February 2018

Mit ihrer warmen, schönen Stimme interpretierte die Marguerite von Jessica Eccleston das wunderschöne „le roi de Thule“"

 

"With a warm and beautiful voice, the interpretation of Marguerite from Jessica Eccleston, was beautiful in "le Roi de Thule""

Klassik Begeistert, Dr Charles Ritterband February 2018

 
 
 
 
Marguerite in Berlioz's opera La Damnation de Faust
at The Landestheater Linz, Austria, February 2018

“Jessica Eccleston ist eine Marguerite zum Liebhaben. Wenn sie in leiser Liebesahnung die Ballade vom König in Thule singt oder an der Abwesenheit ihres Geliebten beinahe zerbricht, und das alles mit einer wunderschönen Stimme, möchte man sie einfach in die Arme schließen und sagen, dass ja eh alles gut wird."

"Jessica Eccleston is a Marguerite to cherish and love. If you in quiet love idea sings the Ballad of the King in Thule or almost breaks in the absence of her lover, and with a beautiful voice, want you they just plug into the arms and say that anyway everything is good."

Kultur und Wein, February 2018

Maddalena in Verdi’s opera Rigoletto 
at The Landestheater Linz, Austria , November 2017

“dingbarer Mörder quasi im Nebenberuf sowie dessen Schwester Maddalena (virtuos als Schauspielerin und Sängerin Jessica Eccleston)...”

"...a tangible murderer as a sideline as well as his sister Maddalena (virtuoso as actress and singer Jessica Eccleston)…"

Klassik Begeistert, Dr Charles Ritterband, November 2017

 
 
 
Maddalena in Verdi's opera Rigoletto
at The Landestheater Linz, Austria, November 2017

“Jessica Eccleston ist eine selbstbewusste wie lustbetonte Maddalena mit vorzüglich abgerundeter Stimme.”

"Jessica Eccleston is a self-assured and lustful Maddalena with an excellently rounded voice"

Online Merker, Helmut Huber, April 2017

Maddalena in Verdi’s opera Rigoletto 
at The Landestheater Linz, Austria , November 2017

“Equal was his “sister” Maddalena, Jessica Eccleston, who especially convinced with her looks, but also with flawless singing..”

Opera Gazet, Gabi Eder, November 2017

 
Nerone in Handel’s opera Agrippina at The Royal Conservatoire of Scotland, January 2017
Five Star Review *****

“Jessica Eccleston was convincing as her son Nerone.”

Opera Now Magazine, Neil Jones, April 2017

Nerone in Handel’s opera Agrippina
at The Royal Conservatoire of Scotland, January 2017

“Jessica Eccleston brought out the wit in Nero's role.”

Opera Scotland, January 2017

 
Dorabella in Mozart’s opera Cosi Fan Tutte at
The Royal Conservatoire of Scotland, January 2016

“Jessica Eccleston’s Dorabella showed she was also clearly a more accomplished

actress, displaying some wonderfully coquettish flirtation.”

Opera Britannia, Kelvin Holdsworth, 23rd January 2016

 

 

Handel’s Messiah, Ilkley and Otley Choral Society, 12th December 2015

“The mezzo soprano, Jessica Eccleston has a voice of rich and pure tone and every word was sincerely delivered. She is a performer to look out for in the future.”

The Wharfedale Observer, Amanda Greaves, 31st December 2015

 

Hermia in Britten’s opera A Midsummer Night’s Dream at The Royal Northern College of Music, 19th March 2015 to 29th March 2015

“I liked the warm tone and very watchable acting of Jessica Eccleston as Hermia…”

The Manchester Theatre Awards, Robert Beale

Ancella in Montemezzi's opera L'amore dei Tre Re with Opera Holland Park, August 2015

 

Ancella in Montemezzi’s opera L’amore dei tre Re at Opera Holland Park, July-August 2015

“Finally, I must mention Jessica Eccleston as Fiora’s maid. Eccleston…did have to show grief and pay her respects to her dead mistress. In that small moment, she was the best thing in the whole show (which is saying something). Even as I write these words at a remove of nearly a month, her expression and approach has stayed with me. She acted her socks off and it was amazing to watch. It was a quietly mesmerising performance. Were I a casting director she would have got a call the next day with offers – with Eccleston: emotion in spades, maybe some real tears-in-the-eyes. Splendid to see. Moments such as these are why I love the arts.”


The Operatunist, 2015

A Solo Recital of American Songs and Vaughn Williams at Kettle's Yard, Cambridge with Kausikan Rajeshkumar (Piano) and Nancy Johnston (oboe)

Four Star Review ****


“Certainly those who couldn't make it on Friday missed a treat. Jessica Eccelston's programme may have had little on it likely to be familiar to the audience. Yet such is her stage presence that she soon had everyone eating out of her hand.
 
But though her bubbly personality and her enjoyment of the material counted for a lot, it was inevitably the quality of her voice which wowed the audience. Exceptionally warm and mellow, it had something of the quality of, say, a glass of St Emilion perfectly kept at room temperature. There were simply no hard edges at all – though in her performance of three relatively serious songs by Samuel Barber, Jessica quite rightly aimed for a slightly colder, more distant tone.
 
However, in other groups of American songs – by Aaron Copland and Leonard Bernstein – all was sweetness and sunshine, enhanced by a swift and tasteful vibrato. In both these sets there was abundant humour too. Bernstein's French mini-song-cycle La Bonne Cuisine was particularly witty and deft, much of it unfolding flawlessly at lightening speed. Jessica's accompanist at the piano, Kausikan Rajeshkumar, was particularly fluent in this group, his nimble figurations adding immensely to the bubbliness and hilarity of the songs.

 
But for me the most satisfying – as well as the most surprising items on the programme – were two songs by Charles Ives. I'm guessing that these are early or even student works, and are settings of German texts written in an unexpected Schubertian manner. How lovely to hear voice and piano totally at one here!
 
The only item which didn't have a piano part and, in fact, the only songs which didn't come from across the pond, were four Blake settings by Vaughan Williams. In these rare English songs Jessica was joined by oboist Nancy Johnston who provided not so much an accompaniment as another solo line. As far as the music-making was concerned, there was nothing to be critical about.”

 

The Cambridge Tab, Classical Reviews, Joe Conway

 

 

 

 

 

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2016 by Jessica R Eccleston.

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