Bellini's "I Puritani" in fresh form at the Arts Palace in Budapest

Pierre Waline - JFB
20 May 2017
...the soprano Jessica Pratt was absolutely admirable in the role of Elvira, in which, it is true, she has much experience. Elvira is a particularly challenging and demanding role that she managed brilliantly. Notably in acute stances without any aggressiveness, quite the contrary, all sung with nuances and apparently with ease.

Victorian Opera: La Sonnambula

Patricia Maunder - Classic Melbourne
15 May 2017
Above all, we had come to hear Australian-born, Italian-based Pratt in her now annual appearance with Victorian Opera, which has been instrumental in the company bringing back bel canto favourites by Bellini and Donizetti to Melbourne stages (some rarely seen since Joan Sutherland’s day; and yes, there were positive whispers of comparison between the great dame and Pratt). With a stunning combination of talent and technique, she mesmerised the audience as Amina. Beautiful tone, flawless control, excellent diction, stratospheric top notes, agile trills, pianissimo that was, somehow, simultaneously delicate and powerful, expression that revealed a profound understanding of character and score – Pratt demonstrated the full arsenal of a great coloratura soprano. Brava!

La Sonnambula (Victorian Opera)

Peter Rose - Australian Book Review
15 May 2017
Her singing was every bit as good as it was in that memorable Puritani. There were many highlights: Amina’s first aria, ‘Come per me sereno’ and the brilliant cabaletta that follows; her Act One duets with Elvino; ‘D’un pensiero e d’un accento’, the ensemble that closes that act. Then Amina is largely absent until the long scene that completes the opera, Ah! Non credea mirarti’. Here, softly or unaccompanied, the beauty of Pratt’s tone and the accuracy of her singing were at their most obvious. This magnificent aria (sung with great feeling by Maria Callas in a 1965 concert) was followed by a suitably exultant ‘Ah! Non giunge uman pensiero’ – one of the most celebrated cabalettas in the Italian repertoire.

Australian music: Victorian Opera's 'La Sonnambula'

John Daly-Peoples - NBR
10 May 2017
From her opening “Care compagne” she had the audience enthralled as she invested the aria with amazing technical and emotional verve. Her voice was voluptuous and she had a robust stage presence, performing with a slight coquettishness that gave her a real sense of character. Her use of coloratura throughout the work added immensely to her performance, her voice towering over the other singers and orchestra, culminating in the final grand sextet: “Signor..che creder deggio.”

Pratt takes the honours

Clive O'Connell - O'Connell the Music
09 May 2017
Jessica Pratt proved more than equal to the task with admirable technical control and a fine characterization of open-hearted simplicity. Pratt gave us an excellent Amina, from her first appearance to the happy (and quick) resolution of the opera’s action. In the initial Come per me sereno cavatina, she demonstrated how to handle the composer’s thick fioriture, particularly in a throw-away piece of brilliance at non, non brillo (the sort of startling facility that typified Sutherland at her best), and again at a quicksilver non ha forza a sostener. In fact, Pratt sustained her role beyond expectations at the crucial point where she is spurned by Elvino, maintaining our sympathy throughout the D’un pensiero quintet and the following Act 1 finale where again the character yields dynamic and range primacy to her ex-fiance – whom any spirited girl outside opera would have now given up as a waste of space. But it’s Ah non credea mirarti that crowns the opera – a surprisingly non-flamboyant peak, but you can expect only a few flashes of brilliance from a sleepwalking heroine (unless you happen to be watching Lady Macbeth or Lucia). Pratt mirrored her opening aria’s happiness with a moving depiction of a credulous soul finding consolation in her dreams. But the pretty-well packed hall was waiting for the fireworks of Ah! non giunge, and Pratt didn’t disappoint...

La Sonnambula

Graham Ford - Stage Whispers
08 May 2017
Exquisite! There was no other word for it... ...Although I own a number of recordings, I don’t have one in which the soprano would match what I heard from Jessica. Showing a restraint that is unusual in opera, the voice displayed was unfailingly beautiful. She only opened up in the big ensembles and nailed a beautiful high F at the end. It was a very special night. ...no one who was there will ever forget it.

Victorian Opera’s La Sonnambula: energetic portrayal of a sleepwalker

Peter Burch - The Australian
08 May 2017
In the title role of Amina, ­acclaimed international diva Jessica Pratt returned to Melbourne to head a superb cast...

An evening of outstanding bel canto bliss with Victorian Opera's La sonnambula in concert

Opera Chaser
07 May 2017
When Pratt took to the stage wearing a black bodiced gown of evening blue and long-draped smokey shawl, then catapulted her recitative and cavatina, "Care compagne - Come per me sereno", to extraordinary heights, a palpable change took hold that seemed to guarantee the magnificent night it was to become. Assured, relaxed and commanding a sense of effortless freedom, Pratt embodied the stupendous beauty of voice that places her as a leader in her art and gives the 21st century a new bel canto star. Every smoothly shaped phrase came with an emotively expressed and engaged magnetism that aided in deflecting attention away from her and onto the first joyous, then innocent, wrongly accused and aching-hearted Amina. Pratt's consummate professionalism shone through via her rapport with her colleagues and commitment to her understated acting while exuding soft and natural elegance befitting her presence as both a star performer and role interpreter. As Act 1 headed towards a colossal finale in which Elvino rejects Amina, Pratt's prowess with the most fragile pianissimo and ability to sustain length of note was a moving experience. From there, Pratt embarked on a blazing display of coloratura fireworks big enough to stun the city. Then, returning in a long black fitted gown in Act 2, Pratt maintained the perfection and natural warmth all the way to the jubilant finale.

Review: La Sonnambula (Victorian Opera)

Ben Wilkie - Limelight Magazine
07 May 2017
Which brings us to Jessica Pratt, who captivated from the moment she appeared on stage. It seemed improbable that she might surpass her rousing opening aria, Care compagne, yet as the evening progressed the audience grew increasingly rapturous, and Pratt led the opera to a spectacular close, reaching phenomenal heights in the final sections of Ah! non giunge uman pensiero. There is little more to say about Pratt that has not already been said many times before, and so I simply note that the rumours are true: her voice is exquisite, and Victorian Opera put on a damned good show.

Victorian Opera: La Sonnambula review

Simon Parris - Simon Parris: Man in Chair
06 May 2017
Besides the divine quality of her singing, a key facet of Pratt’s success is the meticulously considered control of her vocals. After opening aria “Care compagne” Pratt had already blown the audience away with her exquisite voice, and yet she had clearly held back as fitted the character and situation as part of a calibrated performance across the entire evening. In much the same way as in Lucia di Lammermoor last year, Pratt paid tribute to the great Dame Joan Sutherland, largely using the same ornamentations. Amina’s singing reaches a climax at the finale, with a pair of arias, one sorrowful, one joyful. Despite the dramatic moment, Pratt could not help but permit a sweet smile after “Ah! non credea mirarti,” such was the unbridled enthusiasm of the audience’s response. An interpolated high F at end of “Ah! non giunge uman pensiero” helped to bring the opera to a stunning close.

Las Palmas of Gran Canaria: LA FILLE DU REGIMENT

Andrea Merli
24 April 2017
Not available in English
Felicissima presa di ruolo quella di Marie da parte della “nostra” Jessica Pratt, che consideriamo italianissima nonostante la sua nascita australiana. Un ruolo che le sta a meraviglia perchè il soprano riesce a trasferire nel bizzarro personnaggio della trovatella militarizzata il suo humor genuino, spontaneo e contagioso. Cosa combini nei panni di un meccanico alle prese col motore di una jeep, è difficile da descrivere. Viceversa, l’impiccionata – il secondo atto da un palco di prosecnio invaso dai commilitoni del 21esimo reggimento durante il sopranile “saluto alla Francia! – rende appieno non solo le prodezze tenorili, ma anche le squisitezze del soprano che possiede il dono, riservato a poche, di lanciare acuti radiosi, timbratissimi che scendono al cuore come un balsamo. Prezioso il suo “Convien partir” (in francese ovviamente) ma anche tutto il resto: la sortita con Sulpice, la scena della lezione con la Marchesa ed il nostalgico canto del secondo atto. Pure per lei un trionfo: segnatamente dopo ogni numero chiuso e soprattutto alla ribalta finale.

TRIUMPH OF JESSICA PRATT AND JAVIER CAMARENA IN LAS PALMAS WITH "LA FILLE DU RÉGIMENT"

Gonzalo Lahoz - PLATEA MAGAZINE
23 April 2017
Marie was a fabulous Jessica Pratt, who debuted the role with an exquisite, neat vision of the protagonist. To her Marie, who has to sing lying on her back with her head under a car, a thousand tricks are created on the stage that may have complicated the night for anyone, but not her. Pratt seems to be able to do everything and with a most convincing comic visage, she depicted an active woman, decisive in the drama and really unblemished in her vocal interpretation. Of a very homogenous register, the performance of Pratt is pure delicacy, pure sweetness with a instrument of many carats that travels with ease. Crystalline projection and great timbre in an iridescent line finished in an impeccable handling of the coloratura and the extreme high notes, wonderful in Chacun le sait or attacking Salut à la France for example without hesitation, without slowing the rhythm and where she solved the descents to the lowest notes with success. Much applauded, hopefully her Marie will travel around the whole world so that everyone can enjoy it.

Apotheosis of the sons of the regiment

G. García-Alcalde - La Provincia
22 April 2017
...on the same level, British soprano Jessica Pratt. Her sound is young, charmingly projected, caressing in the middle register, extremely flexible in the virtuosity of the coloratura belcantista and without apparent limit in heights, that reach the E natural without the slightest effort. Admirable and adorable in the vocal and stage play, she debuted here her reading of Marie with another acclamatory success. Both, tenor and soprano, established from beginning to end a warm empathic bond with the audience.

The high notes

INDIRA BASU - The Hindu
10 October 2016
Operatic soprano Jessica Pratt and SOI resident conductor Piotr Borkowski, who will perform this evening, have both been influenced by their fathers and share a love for jazz
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Subscribe Jessica's Calendar
Jessica Pratt featured in Ópera Actual: Ópera Actual: Cover & Feature

Jessica Pratt featured in Ópera Actual: Ópera Actual: Cover & Feature

Sergi Sánchez - Ópera Actual
01 January 2016
Jessica Pratt featured in Opera Now: Opera Now: Cover Page

Jessica Pratt featured in Opera Now: Opera Now: Cover Page

Opera Now
01 June 2015
Jessica Pratt featured in Melomano Magazine: Una nueva voz desde Australia

Jessica Pratt featured in Melomano Magazine: Una nueva voz desde Australia

Andrés Moreno Mengíbar - Melomano Magazine
01 November 2013
Jessica Pratt featured in Fine Music Magazine: The world at her feet

Jessica Pratt featured in Fine Music Magazine: The world at her feet

Randolph Magri-Overend - Fine Music Magazine
01 August 2013
Jessica Pratt featured in Vogue Italia: Melodrama queen

Jessica Pratt featured in Vogue Italia: Melodrama queen

Valentina Bonelli - Vogue Italia
12 February 2013
Regina del belcanto, l'australiana Jessica Pratt ha stregato i fans italiani con le sue appassionate eroine della lirica. Cui presta la propria voluttuosa bellezza anglosassone.

Timeline

You may additionally sort the repertoire by the following keys...
Title Composer Language Productions Shows Debut
Title Composer Language Productions Shows Debut
Adelaide di Borgogna Gioacchino Rossini Italian 1 5
Armida Gioacchino Rossini Italian 1 7
Aureliano in Palmira Gioacchino Rossini Italian 1 4
Candide Leonard Bernstein English 1 4
Ciro in Babilonia Gioacchino Rossini Italian 2 6
Demetrio e Polibio Gioacchino Rossini Italian 1 4
Die Zauberflöte W. A. Mozart German 2 10
Don Giovanni W. A. Mozart Italian 3 8
Don Pasquale Gaetano Donizetti Italian
Giovanna d'Arco Giuseppe Verdi Italian 1 2
Giulio Cesare in Egitto Friedrich Händel Italian 1 5
Guillaume Tell Gioacchino Rossini French 1 3
I Capuleti e i Montecchi Vincenzo Bellini Italian 2 6
I Puritani Vincenzo Bellini Italian 11 25
Il Barbiere di Siviglia Gioacchino Rossini Italian 1 3
Il Signor Bruschino Gioacchino Rossini Italian 1 3
L'Africaine Giacomo Mayerbeer French 1 4
L'elisir d'amore Gaetano Donizetti Italian
La bohème Giacomo Puccini Italian 1 3
La fille du régiment Gaetano Donizetti French 1 3
La Juive Fromental Halévy French 1 3
La Sonnambula Vincenzo Bellini Italian 9 26
La Sposa di Messina Nicola Vaccaj Italian 1 1
La Traviata Giuseppe Verdi Italian 2 7
Le Comte d'Ory Gioacchino Rossini French
Le convenienze e inconvenienze teatrali Gaetano Donizetti Italian 2 7
Linda di Chamounix Gaetano Donizetti Italian 1 6
Lucia di Lammermoor Gaetano Donizetti Italian 25 77
Messa di Gloria Gioacchino Rossini Latin 1 2
Otello Gioacchino Rossini Italian 2 5
Rigoletto Giuseppe Verdi Italian 6 21
Roméo et Juliette Charles Gounotd French 1 3
Rosmonda d'Inghilterra Gaetano Donizetti Italian 2 6
Semiramide Gioacchino Rossini Italian 3 9
Tancredi Gioacchino Rossini Italian 1 5

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