Review

Lucia di Lammermoor and Rigoletto (Sydney Opera House)

Jason Whittaker - Daily Review
11 July 2018
In Lucia di Lammermoor, an Australian performer makes her house and company debut, remarkably, with a reputation that precedes her. Jessica Pratt floats in rarified air as one of a handful of sopranos around the world coveted by every major opera house, and entrusted with a titanic role that has the potential to make the performer as certifiable as the character. In fact, Pratt has made the role her own. Melbourne audiences had the chance to see her Lucia in a dusty 2016 Victorian Opera production, but Pratt has never performed under the sails of the Sydney Opera House. The rousing standing ovation on opening night clearly meant something to her. Lucia’s moment of ecstasy is thrilling — the famed final-act “mad scene” (aria Il dolce suono) where a blood-splattered Lucia (pictured above), fresh from murdering her unwanted hubby, performs a love-sick hallucination conjuring her star-crossed lover. And Pratt is beguiling, her instrument as vivid and supple as we’ve heard on Australian stages. It’s the combination of power and poise in her voice, toying with the score and the audience, drawing you in with a delicate trill and pushing you back in your seat with an unfathomably sustained note of spine-tingling vibrato. It presents as a masterclass in bel canto singing.
Review

SEE ‘LUCIA’ BEFORE SHE LEAVES TOWN

Sounds Like Sydney
11 July 2018
Soprano Jessica Pratt and tenor Michael Fabiano are the undoubted stars of Opera Australia’s current production of Donizetti’s bel canto masterpiece Lucia di Lammermoor. Along with a strong supporting cast, the Opera Australia Chorus and the Opera Australia Orchestra, audiences and critics have been both moved and amazed by the stellar musical and dramatic performances.
Review

Lucia di Lammermoor

David Spicer - Stage Wispers
05 July 2018
The frenzied ovation on opening night had an intensity which brought back memories of La Stupenda. Jessica Pratt was towering and terrifying as the insane Lucia. Her top notes could almost crack glass. Driven to murder on her wedding night she enters the stage covered in blood. In a giddy night of highlights her duetto with a flute, at the height of her madness, was the most sublime moment of the evening as her voice and the instrument echoed then melted into each other.
Review

Lucia di Lammermoor

Bill Stephens - Arts Review
04 July 2018
This was a night of opera to be cherished. The air of expectancy in the Joan Sutherland Theatre was palpable at the prospect of experiencing this particular performance by an Australian singer making her Sydney Opera House debut in a role for which she has won International acclaim, supported by a cast of outstanding local and International singers. Jessica Pratt did not disappoint. Honed over nearly 100 performances in 20 different productions, her multi-faceted interpretation, as Donizetti’s tragic and fragile heroine, Lucia, who, forced into an arranged marriage by her unscrupulous brother, Enrico, to settle family debts, goes mad and murders her husband on their wedding night, was as near to perfection as one is ever likely to experience. Pratt commands attention from her very first entrance, as she confidently attacks the complexities of the role. Her stagecraft is impeccable, her acting strong and affecting, and she certainly knows how to make the most of her costumes. However, it’s her voice which really sets her apart. Her sound is crystalline clear over the full range, and she sings with incredible precision with each note perfectly produced to spine-tingling effect. Her trills and cadenzas are cut-glass clear, and even when she is singing at her most pianissimo, as in the mad scene when she sings Alfin son tua, alfin sei mio (At last I’m yours, you are mine at last), every note floats effortlessly to the far corners of the theatre.
Review

Moving Madness

Peter Derrett - Lismore Echo
04 July 2018
The lead is played by the extraordinary Australian soprano Jessica Pratt, who is now in the ranks of Nellie Melba and Joan Sutherland. Well established in Europe, she is at last gaining recognition here. I found her descent into madness very moving, beautifully timed and believable whilst singing some of the most difficult but stunning music in the opera canon.
Review

Review of Lucia Di Lammermoor

Alicia Tripp - The Plus Ones
03 July 2018
The lead role is played by UK born, Australian raised and Italian educated soprano, Jessica Pratt, who has sung the work in over 20 productions and 80 performances in opera houses around the world. Pratt clearly relishes the dramatic challenges of the work, appearing completely at one with her character, entirely immersed in the scene, rather than focused on her technical work. She never sacrifices the drama or emotion of the moment in order to facilitate a note, no matter how stratospheric. In the famous mad scene, her acting is believable and I would venture to say many of her movements are improvised, rather than choreographed to the letter. Although absorbed in her acting, vocally Pratt is faultless, never losing control. Her centre remains calm and legato all the way through, with a pure tone and precise timing. She is obviously so highly trained and well prepared for the role, that she is able to lose herself in the acting, confident that the technique is already there and will effortlessly come out without her having to focus on it. She is at ease with the trills and complicated colaratura that Donizetti wrote and injects a lot of her own ornamentation and variation as well. Her talent is brilliantly showcased in the extended cadenza she sings along with the flute in the mad scene. Having a solo instrument mirror the vocal line in unison, note for note, means that there is no room for error in pitch or timing. And there are no errors. Highly recommended for its musical richness and dramatic intensity. An excellent and faithful rendition, with a contemporary touch to the stage design. The perfect opportunity to see a star soprano in the league of Dame Nellie Melba and Dame Joan Sutherland shown off to her full potential.
Review

Jessica Pratt steals show as a stunning Lucia

Tom Pillans - The Daily Telegraph, Wentworth Courier
03 July 2018
The English-born performer wowed Sydney operagoers on opening night in the title role, one of the most coveted and challenging in the repertoire, with a rollercoaster of coloratura passages and demanding key changes. ... Pratt, who moved to this country in 1991, studied trumpet for 10 years before switching to singing. She made her operatic debut at the age of 28 (she has just turned 39). This performance of Lucia marked her debut at the Opera House and what a compelling performance it was, as true to the score as any I have heard and delivered with poise, charm, impressive colour and radiant confidence. She carried off the trills and thrills of the mad scene in Act III with apparent ease, no simple feat for even the most accomplished soprano.
Review

Review: Lucia di Lammermoor by Opera Australia

Gina Fairley - Performing Arts Hub
03 July 2018
Soprano Jessica Pratt is commanding as Lucia. Returning to Australia for the role after having performed it across the globe – one of only three Australians to have sung it alongside Nellie Melba and Joan Sutherland at La Scala (that Milan opera house famous for its uncompromising audience). She nailed it there, and again here in Sydney. She executed this technically difficult role with passion and accuracy. Pratt was warmly acknowledged by the audience on opening night with the entire house in standing ovation. Her portrayal as bloodied bride Lucia was emotionally unforgiving, incredibly controlled yet fearless, and vocally mind blowing.
Review

Singers shine in Lucia di Lammermoor

Victor Grynberg - J-Wire
03 July 2018
English-born but a product of Australian training, Jessica Pratt has been the leading Lucia around the world for many years now. So it was a full house eager to see and hear her in her Sydney debut. And what a debut it was. I don’t ever try to compare a singer with Dame Joan, whom I first heard in this role over 50 years ago. Rather it is appropriate to judge her as an individual singer and actor, and this performance was flawless. Confident , with superb control of her voice and body, and effortless reaching of all her notes, with no shrillness or harshness. The tragic, yet musically glorious Mad scene was of course the highlight. Just sensational.
Review

Mad scenes in Sydney for Jessica Pratt’s Lucia

Patricia Maunder - Bachtrack
02 July 2018
One of the great Lucias of the current era, Jessica Pratt has played Donizetti’s ill-fated Scotswoman more than 100 times, from her professional debut in 2007, to La Scala and The Met in recent years. How appropriate then, if belatedly, that it’s the role with which she makes her debut at her homeland’s iconic opera house. Pratt lived up to immense expectations, though the outstanding singers interpreting Lucia’s lover and scheming brother were surely factors in her success. Pratt was a wonder as Lucia. Her soprano has beautiful purity of tone, formidable precision (both in the way each note rings out, and diction undoubtedly enhanced by her long residence in Italy) and compelling expression. From joyous, soaring ornamentation to pianissimo despair, her voice is an emotional roller coaster that leaves one breathless – perhaps literally during opening night’s mad scene, as the audience was sometimes so silent that the normally imperceptible air-conditioning’s hum could just be heard.
Interview

Jessica Pratt: What I know about men

Jane Rocca - The Sydney Morning Herald
01 July 2018
Our house was always noisy and messy. Mum and Dad loved to host big dinners and Mum would take in anybody who needed help. When I was 11, our family moved to Australia from Bristol [England] to be closer to my maternal grandmother, who was already living here. Moving halfway across the world was rather traumatic for me and my siblings [brother Daniel, 39, and sister Gemma, 34]. We bonded because it really felt like us versus the world. We moved houses five times – from Toowoomba to Brisbane and then Sydney – before I decided to move to Italy 15 years ago to pursue opera.
Review

Lucia di Lammermoor: Tour-de-force soprano cuts through severity

Peter McCallum - Sydney Morning Herald
01 July 2018
Into that dour world steps Jessica Pratt as Lucia who sang her first Cavatina in Act 1 in smooth, even notes, each tone a pearl on an ordered necklace, breaking only at the cadence into expressiveness and, later, overflowing into immaculate trills. By the famous mad-scene of Act III all order has gone, Pratt soaring with unfettered fluidity across full vocal range, throwing out loosely related musical phrases, her tone matching the pure flute sound as though it were the cold moon that had driven her insane. Pratt’s performance was a tour-de-force of vocal polish, broaching stratospheric heights with never a hint of harshness or strain.
Review

Pratt, Fabiano, Caoduro make Lucia di Lammermoor a must-see

Murray Black - The Australian
01 July 2018
Australian soprano Jessica Pratt has sung the role of Lucia countless times across the world to near-universal acclaim. One can see why. It was an exceptional performance both technically and artistically. Assured from the outset and secure across her range, Pratt fearlessly executed the myriad coloratura passages with precision and flair. Sustaining a clear focused timbre, she also displayed superb dynamic control and a sophisticated array of tone colours while her thoughtful characterisation successfully conveyed Lucia’s volatile emotional state.
Review

OPERA AUSTRALIA : LUCIA DI LAMMERMOOR @ THE DAME JOAN SUTHERLAND THEATRE

Paul Nolan - Sydney Arts Guide
01 July 2018
A great Lucia with coloratura fireworks in the mad scene is needed for a satisfying performance of this opera. Audiences in Australia have enjoyed a fine history in this regard including the role being a favourite of Dame Joan Sutherland. Jessica Pratt brings her international success in this role to Sydney, complete with fine stage presence and a powerhouse voice delivering dramatic strength right through to the top register as well as amazing dfacility in the virtuosic flute-like coloratura filigree of the mad scene.
Review

LUCIA DI LAMMERMOOR

Harriet Cunningham - Audrey Journal
30 June 2018
...her voice is an uncanny mixture of power and intricacy: the delicate coloratura trips out with the graceful precision of a prima ballerina; she cuts through the orchestral timbres with a dazzling but never brash edge; and she lands on those extraordinary top notes like a gymnast doing a perfect round-off. It’s quite something.
Review

REVIEW: Donizetti – Lucia di Lammermoor

Jamie Apps - Altmedia
29 June 2018
As the mad Lucia, Pratt is insanely good. She has had her share of practice, having played the role of Lucia in 20 productions and 80 performances, and it certainly shows on stage. The music simply flows out of the soprano, who remains perfectly in character while hitting notes that would make most singers shift their emotional concentration. In the show’s famous “mad scene,” the singer is mesmorising as she manipulates her voice to become as fragile as Lucia’s mental state.
Review

Opera Australia: Lucia di Lammermoor review

Simon Parris - Simon Parris: Man in Chair
29 June 2018
Pratt immediately charms the crowd with “Regnava nel silenzio,” drawing roars of approval for her tender delivery. Throughout the evening, Pratt interpolates high notes with supreme confidence, performing gorgeous ornamentation while staying utterly true to character. In an extraordinary feat, Pratt surpasses the sky high expectations for her “mad scene,” stopping the show for minutes after “Il dolce suono.” Singing the call and answer with the flute, Pratt’s voice takes on a quality that can only be described as a unique musical instrument in its own right. To have 1500 very well versed operagoers holding their breath on the edge of their seats is the sign of a highly auspicious debut.
Review

LUCIA DI LAMMERMOOR (OPERA AUSTRALIA)

Justine Nguyen - Limelight
29 June 2018
Lucia is the role with which Pratt made her professional debut, and that experience shows. She accesses her top with almost ridiculous ease, while her basic sound has an appealingly cool purity to it. ... During the aria, Pratt hovered perilously close to the stage apron, peering into the pit as if she were looking into the depths of her bloody fonte, a moment that was transfixing. A spirited Quando rapito in estasi allowed her to shine, with her tasteful ornamentations showing off her pinpoint coloratura and formidable trill. ... Staccati were done daringly soft and perfectly articulated, with trills perfectly in place. Again, that thread of sound returned in the all-important phrase “alfin son tua”, with Pratt imbuing “alfin sei mio” with so much quiet love and longing that it was heart wrenching. The cadenza is done with breathtaking precision, with wonderful support from the pit, and all money notes eye wateringly impressive.
Review

Lucia di Lammermoor

Ben Neutze - Timeout
29 June 2018
First thing’s first: the voice. It’s pretty much all it’s cracked up to be – she has startling agility and brightness in her upper register, and a sensitive musicality. Her trills are electrifying and every piece of vocal ornamentation is tasteful. ... The opening night audience rewarded her and co-star Michael Fabiano with an extended standing ovation. It was one of those nights of triumph at the opera that you hear about but rarely witness.
Interview

On the Couch with Jessica Pratt

Arts Review
28 June 2018
What would you do to make a difference in the world? I think that the arts are extremely important today as we live in a world in which individuals become more connected but more isolated everyday. When people come to a live show they get to experience something as a group, it fosters a sense of community and empathy and I think that is a small way that we as artists can make a difference in the world.
Review

Jessica Pratt's long-awaited Sydney debut

Domenico Gentile - SBS
26 June 2018
Australian star soprano Jessica Pratt (who now leaves in Fiesole, near Florence) is ready to make a long-awaited debut at Sydney's Opera House in the title role of Gaetano Donizzetti's Lucia di Lammermoor. In this interview Jessica Pratt tells us what kind of Lucia we can expect when she steps on the Joan Sutherland theatre stage on 28th June for her Sydney's debut.
Promo

Lucia di Lammermoor

Arts Review
26 June 2018
Recognised internationally as one of the world’s great Lucias, Australian soprano Jessica Pratt is making a triumphant return to Sydney this winter for her Opera Australia debut, performing in Donizetti’s most famous opera, Lucia di Lammermoor.
Interview

The great Aussie Soprano in "Lucia di Lammermoor"

Wendy Harmer and Robbie Buck - ABC
25 June 2018
Jessica Pratt is an Australian girl made good earning an amazing reputation in around the world. Jessica is home to make her Sydney Opera House debut in "Lucia di Lammermoor", and, like the great Dame Nellie Melba, Jessica also had a dessert made in her honour...
Review

Best Lucia in years at the Met. Jessica Pratt has it all!

Andrew Byrne - Andrew's Opera
08 May 2018
The mad scene was a tour de force and Ms Pratt added quite a few of her own flourishes, all now tasteful and in keeping with the bel canto piece. Her final cabaletta E flat was the longest and strongest E flat I have ever heard and it was simply extraordinary, especially when the rest of the aria was sung to perfection in a stylish manner worthy of any opera house.
Review

I PURITANI - directed by Pier'Alli

Natalia Di Bartolo - Sipario
21 April 2018
Not available in English
La britannica naturalizzata australiana Jessica Pratt è stata capace di fiondarsi da New York, dopo due recite di Lucia di Lammermoor al Met, arrivare a Palermo il 16 aprile, ovvero la sera prima della recita, provare per modo di dire e scaraventarsi in scena senza rete l'indomani pomeriggio. Professionalità ai massimi livelli: si è andata ambientando in corso di recita ed ha saputo delineare un personaggio Elvira credibile, aggraziato nelle movenze e soprattutto vocalmente delizioso, creando un "merletto" di corretta emissione, facilità nella zona acuta, misura e gran tecnica di bel canto che evocava antichi splendori e filati d'oltreoceano delle sue parti, ma con una marcia in più di modernità e tanta capacità di autocontrollo emozionale e vocale da creare brividi in sala. Favorita all'ascolto dell'appassionato dalle cadenze dell'edizione critica priva di tagli a cura di Fabrizio Della Seta, la Pratt ha emesso sovracuti e snocciolato agilità e abbellimenti, in un'opera che, così eseguita, nel complesso è durata oltre tre ore: si pensi quindi a quanti tagli aperti di cui tener conto. Chapeau.
Review

DID THE MET JUST HEAR THE NEXT JOAN SUTHERLAND?

Norman Lebrecht - Slipped Disc
17 April 2018
Jessica is a British-born Australian. In some quarters, comparisons were being drawn with Joan Sutherland, who owned the role.
Review

A Shining, Brilliant Star Joins the Cast of Lucia at the Met

Robert Levine - Classics Today
16 April 2018
The singing was flawless, with hints of June Anderson and–wait for it–Joan Sutherland, in her pinpoint accuracy, spectacular and huge D-flats, Ds, and E-flats (and even an F to close the tedious scene with the Family vicar, Raimondo), and absolute command of coloratura. Long phrases sung pianissimo and a high E-flat to cap the Mad Scene that went on seemingly forever were almost bonuses.
Review

Metropolitan Opera 2017-18 Review-Lucia di Lammermoor: Jessica Pratt Is A Revelation As Donizetti’s Tragic Heroine

Francisco Salazar - Operawire
16 April 2018
In the famous cadenza, Pratt displayed vocal fireworks, singing with such refinement but never losing sight of the emotion. Each time the glass harmonica played a line, Pratt followed with exact precision. It all melded with such perfection and the sensation was otherworldly. And as she climaxed the scene, instead of finishing with a forte E Flat, Pratt kept the note mezzo forte. In her subsequent “Spargi d’amaro,’ the soprano’s Lucia became more agitated. While still keeping the frailness in her movements, Pratt’s vocal fiorturas became unhinged, singing numerous roulades and even going up to an E Flat. And the vocal fireworks would not end there as Pratt ended the mad scene with a final and powerful E Flat until the orchestra finished. And it surely caused an impact that left audiences wanting more. It was the perfect way to end what was already a showstopping evening. One hopes that Pratt returns for more Bel Canto because she showcases the best of both worlds – great acting, and impeccable coloratura.
Review

A Grand Slam: Lucia, Luisa, and Three Tall Women

Poisonivy
16 April 2018
Yes, Jessica Pratt is the real thing: an accomplished high lyric-coloratura who knows this score inside and out and can manage most everything the role requires without trouble. [...] her upper register is another voice -- brilliant, loud, projects beautifully. In the sextet in that final note her voice was the one that carried over everyone else's. As might be expected her cadenzas were written so her voice could sit in the higher tessitura and she capped her big numbers with blazing money notes that the audience loved -- a high F at the end of her duets with Raimondo, two long-held E-flats after both "Il dolce suono" and "Spargi d'amoro pianto." I was sitting in a balcony box and could see the prompter applauding vigorously after "Il dolce suono."
Review

Met Opera: Lucia di Lammermoor review

Simon Parris - Man in Chair
12 April 2018
Pratt is at her sterling best in the riveting mad scene, performing the unfolding drama with seeming abandon while underpinning her work with perfect control. Pratt’s Lucia is totally lost in her own world, in which her scrambled logic makes utter sense to her. Accompanied by an actual glass harmonica (played with flair by Friedrich Heinrich Kern), Pratt’s ornamentals are completely secure and are an absolute pleasure to hear. In the final sequence, as the guests stand dumbstruck, so too was the house, in which you could have heard a proverbial pin drop.
Review

Fire and ice

Jean Michel Pennetier - Forum Opera
12 April 2018
This season's Lucia di Lammermoor [...] allows her to make a real triumphant debut in the New York theater. Although she does not have the exceptional means of Joan Sutherland, Jessica Pratt is in the exact same path of her illustrious predecessor, with an interpretation based on singing excellence. The subtlety of her coloratura, the ability to lighten the voice, the variations and the top notes are all ways of constructing a fragile character, initially charged with a timid happiness, and then switching to murderous madness. Pratt also has a beautiful roundness of timbre, a singing purity and a baffling top range: in addition to the classic high notes, the British soprano offered us, for example, a rare high F at the end of the mini duet with Raimondo! In the madness scene she used variations and traditional high notes, with some additional pyrotechnics in the second part. Apart for the purely vocal side, Pratt also knows how to build a character (with probably little or no rehearsals) and the scene gave her the wings that she had been deprived in the concert version given at the Théâtre des Champs-Elysées.
Review

The Met’s ‘Cendrillon’ Will Make Anyone Love Fairy Tales…Yes, Even ‘Frozen’

James Jorden - New York Observer
12 April 2018
Offering a welcome whiff of lightness, though, was soprano Jessica Pratt in the title role. Her singing was old-fashioned in the best sense of the term: technically assured, limpid and unerringly lovely.
Review

Roma: Sonnambula come Alice nel Paese delle Meraviglie

Anna Ficarella - Amadeus
26 February 2018
Not available in English
Protagonista della serata è stata sicuramente l’impeccabile tecnica belcantistica di Jessica Pratt, un’Amina-bambola che, letteralmente, cresce e raggiunge una maggiore intensità (anche nel volume della voce, persino troppo poco esibita nel prima parte) solo nel secondo atto, quando finalmente la morbida fluidità della suo timbro riesce a infondere emozione alla melodia in “Ah, non creda mirarti”, commovendo gli ascoltatori.
Review

La bella favola di Sonnambula

Mario dal Bello - Città Nuova
24 February 2018
Not available in English
L’edizione romana, pressoché integrale, ha il suo punto di forza nel soprano Jessica Pratt, splendida: pianissimi da sospiro, acuti mozzafiato, senso della linea melodica belliniana con i suoi “tempi rubati” e i virtuosismi giusti come specchio dell”anima.
Review

La Sonnambula, donne in casa di bambola

Elisabetta Stefanelli - ANSA
24 February 2018
Not available in English
Molto intensa poi l'interpretazione di Jessica Pratt nei panni dell'ingenua Amina, parte difficilissima sia per l'impegno vocale che per quello della recitazione...
Review

Roma, Teatro dell’Opera – La sonnambula

Emiliano Metalli - Connessi all'Opera
24 February 2018
Not available in English
L’Amina di Jessica Pratt, poi, è cristallina, misuratissima nei recitativi in cui sa commuovere con un sospiro, pirotecnica nelle cabalette dove non perde occasione di sfoggiare sovracuti penetranti, ma anche elegante e teneramente malinconica nei cantabili. La ricordo, alcuni anni or sono, in un concerto in Auditorium già padrona consapevole di uno strumento affascinante, la ritrovo oggi più matura, più attenta alla scansione delle parole, più controllata nel legato che la accompagna intatto anche nei pianissimi più arditi, ma sempre ugualmente affascinante.
Review

OPERA/ Bellini: "La sonnambula" in una casa di bambole

Giuseppe Pennisi - Il Sussidiario
24 February 2018
Not available in English
Jessica Pratt , anche se giovane, è una veterana di un ruolo molto impervio che ha trattato magnificamente sin dalla iniziale cavatina e trionfando in Ah! non credea mirarti/ si presto estinto o fiore e nel fantasmagorico rondò finale.
Review

La Sonnambula di Jessica Pratt

Mauro Mariani - Giornale della Musica
24 February 2018
Not available in English
Questa Sonnambula ha una protagonista e si chiama Amina. Semplice ma vero. Jessica Pratt ha infatti dominato la scena dall’inizio alla fine, dapprima mettendo a frutto soprattutto la sua impeccabile tecnica belcantistica, che rispetto ai suoi esordi è diventata ancora migliore, più fluida e meno meccanica, più spontanea e meno esibita. Nel secondo atto, quando la temperie emotiva sale, anche la sua interpretazione cresce e raggiunge un vertice in “Ah, non credea mirarti“, proprio il pezzo apparentemente più semplice, in cui la capacità tecnica fa un passo indietro rispetto al dono di infondere emozione alla melodia e di toccare il cuore dell’ascoltatore.
Review

"LA SONNAMBULA" DI BELLINI IN ANTEPRIMA AL TEATRO DELL'OPERA DI ROMA

Alessandra Pratesi - Recensito
24 February 2018
Not available in English
Il soprano australiano non è nuova né al palco romano (già a Roma con “Lucia di Lammermoor” nel 2015 e con “Linda di Chamounix” nel 2016), né alle melodie belliniane (è cantando un’aria della Sonnambula che vince il concorso che dall’emisfero australe la porta alla città eterna). Sotto la direzione di Scappucci, e grazie alla destrezza che le deriva dai numerosi ruoli belcantistici interpretati, Pratt regala acuti limpidi in “Ah! Non credea mirarti”, di grazia e leggerezza cristalline nonostante le doti tecniche richieste dai passaggi.
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Jessica Pratt featured on The Sydney Morning Herald
Soprano's anonymous: Jessica Pratt at home in the madness of signature role

Nick Galvin
27 June 2018
"It is really cool coming here," she says. "Except my mum keeps telling everybody. I go to a coffee shop and we're sitting there having a calm cup and she's like: 'Oh, do you know she's going to sing at the Opera House?'" As well as the mounting – and justifiable – maternal excitement, there is also much anticipation in the opera world around Pratt's Sydney Opera House debut tonight when she will sing the title role in Donizetti's Lucia di Lammermoor. The bel canto showpiece is Pratt's signature role. She has sung it more than 100 times, even making her 2007 professional debut as Lucia in Lake Como's Teatro Sociale in 2007.

Jessica Pratt featured on Central Sydney
Meet our new stupenda

Catherine Zuill
27 June 2018
OPERA sensation Jessica Pratt — described as Australia’s next Joan Sutherland — has wowed audiences around the world but never in a full Sydney Opera House production. Tomorrow that will all change when she makes her much-anticipated debut with Opera Australia playing the lead role in Lucia di Lammermore. The former Ashfield resident, 39, has come a long way since she worked at Officeworks in Glebe as a 19-yearold while studying at the Conservatorium of Music.

Jessica Pratt featured on Limelight
DIVA GETS HER JUST DESSERTS

Justine Nguyen
26 June 2018
How do you know when you’ve ascended to divadom? Dame Nellie Melba might say when a dessert is named after you. The Peach Melba, a dessert of peaches and raspberry sauce with vanilla ice cream, was fashioned in the 1890s to celebrate the soprano who was at the peak of her fame. Now we’ve got La Dolce Jessica, honouring the British-Australian soprano Jessica Pratt. Created by Australian cook and food author Maggie Beer to mark the occasion of Pratt’s Sydney Opera House debut as Lucia di Lammermoor for Opera Australia, the dessert is available at Aria Restaurant, a stone’s throw away from the theatre.

Jessica Pratt featured on AGV Il Velino
SYDNEY RICORDA GIOACHINO ROSSINI CON IL SOPRANO JESSICA PRATT

26 June 2018
Not available in English
In occasione del 150esimo anniversario della morte di Gioachino Rossini, l’Istituto Italiano di Cultura di Sydney ospiterà - il 17 luglio - il soprano Jessica Pratt, la quale intratterrà una…

Jessica Pratt featured on The F
WHAT MAGGIE BEER, DAME NELLIE MELBA AND SOPRANO JESSICA PRATT ALL HAVE IN COMMON

James Banham
26 June 2018
It was the iconic Dame Nellie Melba who started the trend at the height of her career and has since left the trend unmatched. Until now. Australia’s favourite kitchen legend, Maggie Beer has joined forces with the Sydney Opera House to craft a dessert – much like in the way of the famed ‘peach Melba’ after the Dame herself – after soprano Jessica Pratt thanks largely to her debut this season as the lead in the Lucia Di Lamermoor production by Opera Australia this month.
Jessica Pratt featured on Ópera Actual<br/>Jessica Pratt: The Australian soprano returns to Spain at her best

Jessica Pratt featured on Ópera Actual
Jessica Pratt: The Australian soprano returns to Spain at her best

15 December 2017
Jessica Pratt featured on Opéra Magazine

Jessica Pratt featured on Opéra Magazine

05 September 2017
Jessica Pratt featured on hello

Jessica Pratt featured on hello

27 June 2017
Jessica Pratt featured on Ópera Actual

Jessica Pratt featured on Ópera Actual

Sergi Sánchez
01 January 2016
Jessica Pratt featured on Opera Now

Jessica Pratt featured on Opera Now

01 June 2015
Jessica Pratt featured on Melomano Magazine<br/>Una nueva voz desde Australia

Jessica Pratt featured on Melomano Magazine
Una nueva voz desde Australia

Andrés Moreno Mengíbar
01 November 2013
Jessica Pratt featured on Fine Music Magazine<br/>The world at her feet

Jessica Pratt featured on Fine Music Magazine
The world at her feet

Randolph Magri-Overend
01 August 2013
Jessica Pratt featured on Vogue Italia<br/>Melodrama queen

Jessica Pratt featured on Vogue Italia
Melodrama queen

Valentina Bonelli
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 10 August 2011
Armida Gioacchino Rossini Italian 1 7 05 June 2010
Aureliano in Palmira Gioacchino Rossini Italian 1 4 12 August 2014
Candide Leonard Bernstein English 1 4 18 January 2012
Ciro in Babilonia Gioacchino Rossini Italian 2 6 14 July 2012
Demetrio e Polibio Gioacchino Rossini Italian 1 4 29 May 2013
Die Zauberflöte W. A. Mozart German 4 17 01 February 2011
Don Giovanni W. A. Mozart Italian 3 8 23 August 2009
Don Pasquale Gaetano Donizetti Italian 1 4 18 November 2017
Giovanna d'Arco Giuseppe Verdi Italian 1 2 18 July 2013
Giulio Cesare in Egitto Friedrich Händel Italian 1 5 20 November 2014
Guillaume Tell Gioacchino Rossini French 1 3 01 March 2013
I Capuleti e i Montecchi Vincenzo Bellini Italian 2 6 03 May 2013
I Puritani Vincenzo Bellini Italian 13 29 12 October 2008
Il Barbiere di Siviglia Gioacchino Rossini Italian 1 3 01 August 2015
Il Signor Bruschino Gioacchino Rossini Italian 1 3 21 April 2007
L'Africaine Giacomo Mayerbeer French 1 4 23 November 2013
L'elisir d'amore Gaetano Donizetti Italian 1 10 07 January 2018
La bohème Giacomo Puccini Italian 1 3 28 December 2013
La fille du régiment Gaetano Donizetti French 1 3 20 April 2017
La Juive Fromental Halévy French 1 3 16 April 2010
La Sonnambula Vincenzo Bellini Italian 10 31 14 October 2010
La Sposa di Messina Nicola Vaccaj Italian 1 1 18 July 2009
La Traviata Giuseppe Verdi Italian 2 7 17 May 2014
Le Comte d'Ory Gioacchino Rossini French 1 1 28 May 2017
Le convenienze e inconvenienze teatrali Gaetano Donizetti Italian 2 7 04 October 2009
Linda di Chamounix Gaetano Donizetti Italian 1 6 17 June 2016
Lucia di Lammermoor Gaetano Donizetti Italian 28 87 26 September 2007
Messa di Gloria Gioacchino Rossini Latin 1 2 15 August 2015
Otello Gioacchino Rossini Italian 2 5 12 July 2008
Rigoletto Giuseppe Verdi Italian 7 22 04 July 2009
Roméo et Juliette Charles Gounod French 1 3 22 September 2010
Rosmonda d'Inghilterra Gaetano Donizetti Italian 2 6 09 October 2016
Semiramide Gioacchino Rossini Italian 3 9 18 October 2015
Tancredi Gioacchino Rossini Italian 2 10 20 March 2015

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