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“Klarer und mit weniger Schärfe als ihre Rollenvorgängerin formt Jessica Strong die „Marta“. Sie trifft immer genau die richtige Klangfarbe, ob für die melancholischen Momente, den Trost, den sie ihren Mithäftlingen spendet oder den würdevollen Stolz, mit dem sie die Manipulationsversuche durch die KZ-Wärterin Lisa zurückweist. Es ist ihre bislang stärkste Leistung am Frankfurter Opernhaus.”

(Jessica Strong forms "Marta" more clearly and less sharply than her role predecessor. She always hits exactly the right timbre, whether for the melancholic moments, the consolation she gives to her fellow inmates, or the dignified pride with which she rejects the manipulation attempts by the concentration camp guard Lisa. It is her strongest performance so far at the Frankfurt Opera House.)

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-Michael Demel, 23. März 2018 – Der Opernfreund 

 

“Jessica Strong als Marta, noch bis vor gut einem Jahr im Opernstudio, erschien dagegen wärmer und lebensbejahender als einst Sara Jakubiak. Mit ihrem lyrischen Sopran bleibt die Kanadierin als Überlebende besonders beim Epilog, zur zerbrechlich ausfransenden Querflötenweise, in starker Erinnerung.”

(Jessica Strong as Marta (until just over a year ago in the opera studio), however, appeared warmer and more life affirming than Sara Jakubiak. With her lyrical soprano, the Canadian stands in strong memory as a survivor, especially in the epilogue with the fragile fading flute.)

 

-Bettina Boyens, Frankfurter Neue Presse, 06.03.2018

 

“A ses côtés, les deux principaux rôles féminins sont assurés par deux nouvelles recrues, Jessica Strong (Marta) et Katharina Magiera (Lisa). C’est surtout la première qui impressionne par son chant radieux, admirable de couleurs tout autant que passionnant dans ses prises de risque.”

(At her side, the two main female roles are provided by two new recruits, Jessica Strong (Marta) and Katharina Magiera (Lisa). The former especially impresses with her radiant voice, both admirable in color and passionate in its risk taking.)

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- Florent Coudeyrat, www.convertonet.com

 

 

"Jessica Strong represented Canada well as Vanessa, in her first guest role with Oper Frankfurt since leaving the Ensemble. She was easily understood in her native English."

 

-Blanche Israël, www.schmopera.com, September 17, 2017

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"Jessica Strong est une superbe découverte. La jeune Canadienne remplaçait Myrto Papatanasiu, en ce 1er mars, la voix coule de source sur tout l'ambitus, à la fois limpide et charnue, dessinant d'Amelia un portrait frémisant." 

(Jessica Strong is a superb discovery. The young Canadian replaced Myrto Papatanasiu on March 1, the voice flows naturally throughout her range, at once clear and round, drawing from Amelia a trembling portrait.

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-Mehdi Mahdavi, Opéra Magazine, April 2017

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"De Canadese sopraan Jessica Strong excelleerde in deze moeilijke rol. Enerzijds wat schuchter, anderzijds met een enorme bühneprésence. Ondanks haar betrekkelijk grote stem was ze geknipt voor deze partij, omdat ze gemakkelijk kon terugnemen waar dit nodig was. In haar grote aria’s deed ze niet onder voor wat er door bekende namen op YouTube te vinden is. Gelet op de combinatie van stem en postuur zou Strong ooit weleens een mooie Isolde kunnen worden."

(Canadian soprano Jessica Strong excelled in this difficult role. She created a character that was a bit coy, but also with a huge stage presence. Her relatively large voice made her ideal for this role because she could easily recover where it was needed. During her main aria, she had nothing to envy of the big names one can find on YouTube.)  

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-Peter Franken, Place de l'Opera, November 2, 2016

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"In der dritten Wiederaufnahme überzeugten alle neu besetzten Sänger im „Rheingold“ stimmlich... Während sich Opernstudio-Stipendiatin Jessica Strong als Woglinde mühelos in das neckische Rheintöchter-Terzett integrierte..."

(In the third Wiederaufnahme of Rheingold, all newly cast singers were vocally satisfying... while opera studio member Jessica Strong as Woglinde integrated effortlessly into the playful Rheinmaiden trio...)

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-Frankfurter Neue Presse, May 7, 2016

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"Es ist herrlich, den spielfreudig-aufgedrehten Sängerinnen, angeführt von Jessica Strongs hellem, klarem Sopran, dabei zuzuhören und zu zusehen."

(It is wonderful to hear and to see the expressive, vivd acting of the singers, led by Jessica Strong's bright, clear soprano.)

 

- Bernd Zegowitz, Rhein-Neckar Zeitung, February 5, 2016

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"Die Kanadierin Jessica Strong, noch Mitglied im Opern-Studio, auch bereits international aktiv, erfreut durch ihren klaren Sopran, der wunderbar die Höhen erklimmt."

(Canadian soprano Jessica Strong, still a member of the Opera studio but also active internationally, delighted with her clear soprano that soars wonderfully into the heights.)

 

- Renate Feyerbacher, www.feuilletonfrankfurt.de, February 2, 2016

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"Jessica Strong gibt mit einem elastischem wohlklingendem Sopran die rosa und setzt sich auch gekonnt in Positur, z.B. auf dem Cembalo."

(Jessica Strong as Rosa sings with a flexible, melodious voice, and alluring stage presence, particularly on the cembalo.)

 

- Friedeon Rosén, Der Neue Merker, January 30, 2016

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"Una compagine di voci fresche che si destreggia attraverso la partitura con brio e maestria...Il soprano canadese Jessica Strong restituisce alla perfezione gli ardori artistici e sentimentali della presunta vedova Rosa."

(A company of fresh voices who juggles through the score with panache and skill ... Canadian soprano Jessica Strong communicates to perfection the artistic and sentimental ardor of the alleged widow Rosa.)

 

- Stefano Borgioli, Arte &Arti, January 31, 2016

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"Die Damen spielen den Zickenkrieg mit viel Körpereinsatz aus, kriegen sich schön in die Lockenwickler, wenn’s um die Gunst des Maestros geht. Klangschöne Stimmen haben alle Vier; Jessica Strong als Rosa...wettereifern dabei mit besonderer Strahlkraft und sopranistischer Brillanz um die Krone. „Was für Triller, was für Stimmen, was für Wunder!“, ruft Don Bucefalo gleich zu Beginn aus, als er die Grazien belauscht. Da hat der Schelm mal völlig Recht."

(The ladies enact the cat fight with plenty of physical exertion, getting into wonderful trouble while curling their hair, when it comes to the favor of the maestro. All four sopranos have beautiful voices; Jessica Strong as Rosa sang with special radiance and brilliant high notes." What trills, what voices, what a miracle!" , Don Bucefalo exclaims at the beginning , when he overheard the Graces.  There the rascal is entirely right.)
 

-Thomas Wolff, Allgemeine Zeitung Mainz, January 26, 2016

 

Rosa, die hoffnungsvollste der vier Primadonnen, wird gesungen von Jessica Strong mit leichter, reizvoller Schärfe, ihr häufig im unangenehm hohen Passaggio-Übergangsbereich gelegener Part ist technisch höchst anspruchsvoll, hörte sich aber vollkommen leichtgängig an. 

(Rosa, the most promising of the four prima donnas, is sung by Jessica Strong with an easy, and attractivly sharp sound. Although often situated in the unpleasantly high Passaggio which is technically very demanding , her voice sounded completely smooth.) .
 

-Stefan Schickhaus, Frankfurter Rundschau, January 25, 2016

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"In der Originalfassung der Oper blamiert sich rosa als Fulvia im Ezio von Gluck. Im Depot darf sie die Original arie erfolgreich vortragen. Dank einer starken Leistung von Jessica Strong wird die harte landung so noch abgewendet."

(In the original version of the opera, Rosa appears disgraced as Fulvia in Ezio by Gluck . In the Depot, it appears the original aria was successfully performed; thanks to a strong performance by Jessica Strong, the hard landing was averted.)

 

-Benedikt Stegemann, Frankfurter Allgemeine Rhein-Main Zeitung, January 25, 2016

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"Was immerhin einen großen Arienmoment birgt: Als Rosa singt Jessica Strong vom Frankfurter Opernstudio eine hineinmontierte Gluck-Arie mit junger Größe, fesselnder Koloratur und hoch kultivierter Leidenschaft."

(A great moment was achieved when Rosa (Jessica Strong from Frankfurt Opera Studio) sang a mounted Gluck aria with youthful  grandeur, captivating coloratura and highly cultivated passion.)

 

- Axel Zibulski, Offenbach Post, January 25, 2016

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"Jessica strong stellt als Rosa in der großen Wahsinns-Arie der Fulvia ihre Vormachtstellung als Primadonna im Stück mit strahlenden Koloraturen und großer Dramatikunter Beweis. Auch sie begeistert mit hervorragender Komik, wenn sie auf dem Cembalo versucht.""

(As Rosa in the great mad-aria of Fulvia, Jessica Strong demonstrated her supremacy as a prima donna with brilliant coloratura and great dramatic artistry. She also thrilled with humor and wit on the cembalo.)

 

- Thomas Molke, www.omm.de

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"Bei den vier Sängerinnen hat der Komponist eine klare Rangstufung vorgenommen. So darf Jessica Strong sich als Rosa in der musikalisch attraktivsten, aber auch virtuosesten Partie präsentieren. Es gelingt ihr mit Leichtigkeit. Ihr enormes Potential zu differenzierter stimmlicher Rollengestaltung kommt aber erst durch einen musikalisch-szenischen Eingriff der Regisseurin zum Vorschein. Im ursprünglichen Libretto soll die Sängerin an einem Probestück nach wenigen Takten scheitern. In der Frankfurter Produktion jedoch wird an dieser Stelle eine originale Gluck-Arie aus der Oper „Ezio“ in voller Länge dargeboten, die im Gegenteil glänzend bewältigt wird. Jessica Strong singt diese Arie in differenzierter Vollendung und wird dabei von Januschke und seinen Musikern auf Händen getragen. Wenn demnächst die Frankfurter Inszenierung von Glucks „Ezio“ wiederaufgenommen werden sollte, dann möchten wir unbedingt „La Strong“ als Fulvia hören und bitte auch Januschke im Orchestergraben erleben."

(The composer has made a clear ranking  of the four singers. Jessica Strong is showcased as such in this musically attractive but also virtuosic role. She succeeds with ease. Her enormous potential for vocal diversity surfaced through an intervention of the director for the final musical scene. In the original libretto, the singer should fail on a test piece after a few bars. However, in the Frankfurt production, an original Gluck aria from the opera "Ezio" is at this point dramatically presented in full length. Jessica Strong sings this aria with sophisticated perfection, supported by Januschke and his orchestra. If soon the Frankfurt production of Gluck's "Ezio" should be remounted, then we would like to hear "La Strong" as Fulvia, with Januschke in the orchestra pit.

 

- Michael Demel, Der Opernfreund, January 25, 2016

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"Jessica Strong's 'Bel raggio lusinghier' was sung with electrifyingly beautiful coloratura..." 

 

- Melanie Pollinger, Main Echo February 2015

 

"Jesssica Strong was lyrically sweet as Micaëla."

 

- Ted Rhodes, Calgary Herald

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"My most exciting discovery was Canadian soprano Jessica Strong. She's a lyric coloratura with a big, beautiful sound who sang a wonderfully imaginative and spontaneous 'Bel raggio lusinghier'; Strong showed a solid command of bel canto style and proved she knew how to bring out the music's elasticity. (She was also impressive in 'Robert, toi que j'aime', from Robert le Diable, which she reprised during the London finals concert at the Morgan Library on February 20.)" 

 

- Brian Kellows, Opera News May 2014

 

 

"A standout in this production was up-and-coming Canadian Jessica Strong as Elvira, a powerful, charismatic soprano whose voice commands attention and is garnering appreciation at home and in the States. I raved about her in Opera Canada when she sang in a student production in Edmonton five years ago. She went on to work with Calgary Opera’s young artists program, and it’s great to see the company give her an opportunity to make a real impression in a main production."

 

- Bill Rankin, Classical Voice America November 2013

 

 

"Stepping in for an ill colleague on only a few hours' notice, Jessica Strong put in an impressive performance as Anne Trulove."

 

-Edmond Johnson, Opera News November 2012

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"Jessica Strong, stepping in for an ailing colleague on short notice, communicated the predicament of Anne Trulove with touching simplicity and silvery tone. Her aria "Quietly night" was beautifully sung..."

 

-Jeffery S. McMillan on Bachtrack

 

 

 

 

"On Friday night, the female lead, Anne Trulove, was sung by soprano Jessica Strong, the cover for the part, and she was strong in a very demanding role. Her chemistry with Fisher was apparent from the tenderness of the opening scene, and she handled the critical first-act aria “No Word from Tom” very effectively, achieving unity between her character’s dramatic situation and Stravinsky’s beautiful music. With a character like Anne Trulove, this production’s sincere approach worked wonders."​

-David Bazemore, Santa Barbara Independent, August 7, 2012

 

"Jessica Strong, also Canadian, was an Anne come lately, a last-minute substitute for an indisposed singer. Her big aria, “No Word From Tom,” comes early in the opera, at the end of the first act. She sang it with determination...mature and eloquent."​

-Mark Swed, Los Angeles Times, August 5, 2012

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"Jessica Strong deployed her powerhouse soprano in “Fenton! Mein Mädchen” from Nicolai's The Merry Wives of Windsor."​

-Harvey Steiman, Aspen Times, August 13, 2011

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"Soprano Jessica Strong's Clarice showed a powerful top, a seductive vibrato and assured coloratura."

-Paula Citron, Opera Canada, Winter 2010

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"Making her TLOC debut, Jessica Strong's clear soprano voice projected well, from her opening solo to her florid offstage vocalizing as she prepared for her fateful night's slumber."

- Holly Harris, Opera Canada, Fall 2009

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"Director Michael Cavanagh's highly entertaining Die Fledermaus featured as consistently good a cast as I've ever heard in an Opera Nuova production, with a couple of outstanding singers. The Rosalinde of University of Manitoba grad Jessica Strong, a confident and accomplished soprano, was the vocal anchor in this cleverly updated version. Projecting well musically, she also projects character with a real performer's pleasure." 

-Bill Rankin, Opera Canada, Fall 2008