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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

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 voice is one of those inverted triangles -- she sounds unremarkable in her middle register. Pleasant, but not memorable. So the very centrally written "Regnava nel silencio" had me thinking, "This is it?" But 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

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. If anything, her performance felt a bit too easy: she walked her vocal tightrope (all the way to a crystalline high F) with such insouciance that the audience response was merely warm instead of frenzied. Pratt has only one more performance this season (April 14), but Cendrillon blessedly continues through May 11. You simply have to see it, whether you’re a tween girl or (like me) merely a tween girl at heart.
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

Jessica Pratt e Speranza Scappucci portano la Sonnambula a Roma

Charlotte Saulneron - Res Musica
25 February 2018
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...
Interview

“AH! NON CREDEA MIRARTI”: INTERVISTA A JESSICA PRATT

Sara Feliciello - IERI, OGGI, DOMANI, OPERA!
24 February 2018
Not available in English
Jessica Pratt è diventata un elemento importante per il repertorio del Belcanto, grazie a eccellente tecnica, doti da grande virtuosa, ma anche per la sensibilità e l’emotività con cui si approccia alle delicate eroine belcantiste. In questi giorni è al Teatro dell’Opera di Roma, in uno dei suoi cavalli di battaglia: Amina ne “La Sonnambula”, personaggio palpitante ed estremamente fragile. In una pausa tra le prove Jessica ci ha fatto il grande onore di raccontarci la sua Amina e il suo “essere” artista…
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 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

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

"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.
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.
Interview

Jessica Pratt, a doll house for the queen of belcanto

Valerio Cappelli - Corriere della Sera
10 February 2018
Not available in English
Questa è la storia di Jessica Pratt, una regina del belcanto che per mantenersi, in Australia, serviva hamburger da McDonald’s. Dal 18 all’Opera canta La Sonnambuladi Bellini, sul podio Speranza Scappucci, nell’allestimento di Giorgio Barberio Corsetti che la vide protagonista due anni fa al Petruzzelli di Bari.
Review

A successful flexible production

Ovidi de Cardona - Docenotas
30 January 2018
Soprano Jessica Pratt made her debut in the role of Adina on the stage in Barcelona with scenic authority and secure singing; her interpretation was no less, exhibiting a portentous technique and crowning her interventions with an apotheosis on the final number with agility and ornaments of her production.
Review

An infallible elixir

Germán Gan Quesada - Audioclasica
22 January 2018
...the flirtatious and capricious Adina was defended by Jessica Pratt's fitting coloratura, with careful low notes, a perfect control of the breath, with moments of great vocal exhibition, as in the case of the scene with Dulcamara "Quanto Amore!" and the splendid cabaletta "Il mio rigor dimentica";
Review

Barcelona: Pratt triumphs in the Catalan elisir

Federica Fanizza - Le Salon Musical
19 January 2018
Not available in English
Ma la vera trionfatrice e protagonista della serata è risultata, nei panni di Adina, il soprano australiano Jessica Pratt. [...] Delinea una Adina padrona e signora degli eventi, per questo aiutata anche da una regia che la denota come donna consapevole della scelta di accettare la proposta di Belcore. [...] Se nel primo atto domina una rappresentazione di Adina spensierata e scherzosa nell’atteggiamento di una che sa tenere le distanze con le dovute maniere, nel II atto delinea un personaggio che si assume tutte le responsabilità di una scelta sbagliata dando al personaggio una connotazione più lirica e malinconica che emerge proprio nel momento del confronto /confessione con Dulcamara. Suggestiva e penetrante risulta il duetto finale con Nemorino “Prendi, per me sei libero” con la cabaletta “Il mio rigor dimentica” con la quale Jessica Pratt ha dimostrato al pubblico quello di cui è capace di fare e che le riesce al meglio e con cui ha connotato la sua carriera di cantante d’agilità. [...] La Pratt ha introdotto variazioni alla cabaletta, rimanendo nella linea di canto impressa da Donizetti, ma arricchendola di terzine, picchettati e agilità che raggiungono il Fa sopracuto. In questo modo, come è sua consuetudine, ha impresso all’esecuzione il suo marchio personale, lanciando sfide vocali lungo il sottile filo delle agilità come uno scalatore in piena ascensione libera.
Review

L’elisir d’amore

Jorge Binaghi - Bellini News
19 January 2018
... triumph of Jessica Pratt's Adina, very credible and above all, perfectly sung, with pyrotechnic acrobatics in her great aria, especially in the cabaletta with notable variations...
Review

L’elisir d’amore

Victòria Oliveros Layola - Gaudint del teatre
19 January 2018
The great triumpher of the evening was Jessica Pratt's Adina. The Australian soprano overcame the difficulty of the debut with this opera interpreting a vocally extraordinary Adina...
Review

Drawbacks of memory

J. A. Mendiola - Ara Balears
14 January 2018
Jessica Pratt has been superb and has reached the peak of her performance with "Prendi, per me sei libero", in which she shown a whole range vocal tricks from the greatest belcanto tradition, dazzling the audience, from the finest top notes to the most impeccable pianissimi; this alone was worth paying for an evening at the Liceu.
Review

Mario Gas' elixir triumphs at the Liceu in Barcelona

Miquel Martínez - Bachtrack
12 January 2018
The triumpher of the evening was undoubtedly the young Jessica Pratt who debuted in the role of Adina. ... She offered us a luxurious coloratura with diamond-like top notes, as well as an enviable control of the positioning of her voice. She also flashed some precious legati, as the consumed Belcanto interpreter she is. Pratt, whose career is in stellar acceleration and we hope to follow often from Barcelona, ​​has given us a delicious duet of "Prendi, per me sei libero" with such ease that made Donizetti's diabolical score seem easy.
Review

Dramas and comedies to start 2018 at the Liceu in Barcelona

Daniel Basteiro - El Español
12 January 2018
Review

Barcelona: the success of a classic

Fernando Sans Rivière - Opera Actual
12 January 2018
Of the cast is especially noteworthy the debut in the character of Adina of the soprano Jessica Pratt; the Australian artist triumphs all over the world with her romantic bel canto repertoire and in Barcelona, ​​where she had already performed in Rossini's Otello - in a concert version - she depicted a very special character, highlighting her excellent line of singing and acting, very refined and fun, as well as a phrasing and a vocal registry with dream-like top notes that allowed her to add spectacular coloratura and variations that were greatly appreciated by the public.
Review

Gran Teatre del Liceu: That old dear Elisir

Xavier Pujol - Opera Online
10 January 2018
Australian soprano Jessica Pratt has a belcanto voice of great quality, with lovely lyrical lines, easiness for coloratura, great projection and skill in thinning the sound in the top of the register – which invariably wins the audience’s heart. She started by dosing her voice whilst studying the acoustics and ended up very well. Her “Prendi, per me sei libero” was of the greatest quality.
Review

Jessica Pratt distills the elixir of love in Barcelona

Emmanuel Andrieu - Olyrix
10 January 2018
...the star (undisputed as indisputable) of the evening was Jessica Pratt. For her debut, the British-Australian soprano served us with a very high-caliber Adina, as we rarely have heard. Thankful for having made us hear for the first time many numbers without cuts, such as the caballetta (fast and virtuous final episode) of the second act. She rises on the highest top notes, floated C's pianissimo, interpolated final high F's, not to mention a mindblowing E flat in the transition to the caballetta and breathtaking vocalizations: this great Pratt aria alone is worth the trip to Barcelona! ...this immense Bel Canto soprano walks in footsteps of her illustrious predecessor, Dame Joan Sutherland (also Australian), who was able (like Callas) to give back to Bel Canto it's true soul.
Review

The elixir of Mario Gas maintains its freshness in the reprisal of the Liceu

Javier Pérez Senz - El Pais
10 January 2018
Spectacular in the coloratura, with ornaments in the best tradition of bel canto and well projected top notes, Jessica Pratt triumphed as Adina, showing off the most spectacular tools in the second act.
Review

The elixir of Mario Gas, a miraculous remedy against bad mood.

Javier Blánquez - El Mundo
10 January 2018
... [Jessica Pratt] exploded with an arsenal of trills, improvisations and volumetric modulations combined with the sacred silence of the theater ...
Review

Love Always Wins: L’elisir d’amore at the Gran Teatre del Liceu

Operatraveller
10 January 2018
Jessica Pratt’s Adina proved that she has all of the necessary bel canto tools at her disposal: a genuine trill, impeccable coloratura, an ability to float phrases on the breath – she certainly has an impressive technique. She even gave us some stratospheric embellishments that were received with glee by a number of gentlemen in the audience. It’s a full and rounded soprano and undeniably impressive.
Review

Donizetti on full Gas

Jordi Maddaleno - La Vanguardia
10 January 2018
...the Australian soprano Jessica Pratt, in her debut with both the opera and the Liceu, stood out to the challenge. Great attention to the legato, pianissimi of great refinement and a stratospheric "Il mio rigor dimentico" (cabaletta with variations signed by Pratt) including of an interpolated high F that consecrated her debut in the role of Adina. She was the star of the evening.
Review

The elixir formula continues to be effective

Xavier Cester - Ara
10 January 2018
...and this year the clear triumph was Jessica Pratt. The Bel Canto credentials of the Australian soprano where already showing during the first part of the show, with some overwhelming additions here and there, hinting to the fact that this determined Adina would have felt at ease with the vibrant fioriture of the final. And so it was in a "Prendi, per me sei libero" that Pratt decorated with great taste.
Review

The good old elixir at the Liceu

Jaume Radigales - Nuvol
10 January 2018
Jessica Pratt is an English soprano, raised in Australia and living in Italy, that made her debut in the role of Adina with this production. She moves well on stage, taking over the role in just over five minutes, with perilous singing variations, passing with full score, especially in the second act, thanks to her agility and final top notes.
Review

Jessica Pratt, a great Adina in the production inspired by Mario Gas

César López Rosell - Recomana
10 January 2018
The great triumpher of the evening was Jessica Pratt. The Australian soprano overcame the difficulties of her debut [...] little by little, thanks to the beauty of her timbre and the absolute domination of the coloratura at her side, she ended up excelling in the role. Light, free phrasing and the use of the best vocal pyrotechnic resources soon became dazzling. A reference Adina in sight.
Review

Ramón Tebar debues at the Liceu with "L'Elisir d'Amore" in the productiono Mario Gas

Roger Alier - Platea Magazine
10 January 2018
Even more appealing was the Australian diva Jessica Pratt, who donated the first Elisir d'Amore of her career to Barcelona, ​​including the agility variations of her final cabaletta (with an interpolated high F). Variations that the bel canto of the time allowed, and that won her a strong applause ...
Review

Let's talk about the opera "Elisir d'Amore" di Gaetano Donizetti

CCMA
10 January 2018
Review

The magic formula

Valèria Gaillard - El Punt Avui
10 January 2018
But above all, there was a lot of anticipation for the debut of the Australian Jessica Pratt in the role of Adina, and in this sense, the soprano did not disappoint at all. She embroidered the character both from the vocal point of view - with hypnotic and sparkling fioriture - and from the interpretative one. Pratt was an Adina proud and aloof, but also playful and seductive with the unfolding of the plot. More used to tragic roles, Pratt has shown that, if needed, she knows how to wear a floral dress and make a simple peasant go crazy. [...] her impressive voice, which sometimes climbs into impossible figures, makes you forget everything else.
Review

Liceu 2017/18: l'Elisir d'Amore

Joaquim - In Fernem Land
10 January 2018
Jessica Pratt [...] is a Bel canto soprano with an extraordinary class and an admirable style. ...vocally Adina is spectacular, especially in the second act, and of course in the “Prendi per me, sei libero” and corresponding cabaletta, where she set free a pyrotechnic voice, kept in check until then, making a nice show of very well executed scales, staccati, picchiettati, all the ornamentations of her own creation, mostly very appropriate, an elegant phrasing and, ultimately, a truly admirable bel canto style. Brava!
Interview

Magical love intrigue at the Liceu

César López Rosell - El Periodico
06 January 2018
Jessica Pratt makes her debut in the role of the heroine of Donizetti's "L'elisir d'amore", which she calls "a free and independent woman". Started as a trumpet player, after 10 years of studying she decided to turn her career and move on to singing. Jessica Pratt, born in Bristol (England) but of Australian nationality, is today one of the stars of the romantic bel canto.
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Subscribe Jessica's Calendar
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

Repertoire

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 3 14 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 27 80 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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Australia

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