Read Jessica’s interview with The Bow and Baton here:
Opera Today’s review of the 2020 Kathleen Ferrier Awards can be found here:
Cale’s precision and focus were impressive, while the high-octane aria that followed was notable for the use of ornament for expressive, rather than purely virtuosic, effect [...] The strength, expanse, nuance and discernment which Cale demonstrated was nowhere more communicative and touching than in the beautifully floating high notes [...] Cale made excellent use of the text in both the recitative and aria, capturing all of Susanna’s confidence and wit, yet also conveying her sincerity. Her soprano ebbed and flowed expressively through the elongated phrases, making such nuance sound effortless, which it certainly isn’t, and entirely natural, which it assuredly was.
[Jessica Cale] gave a very impressive performance of from and from making good eye contact with the audience and showing acting skill in the more dramatic moments. She was also one of the few singers who managed a proper trill, without resorting to her admirably light vibrato.
Andrew Benson-Wilson Early Music Reviews
His fellow puppeteer was the fetching Despina of Jessica Cale, whose nimble soprano perfectly matched her stage agility; her diction also made the most of John Warrack’s typically suave translation.
Jessica Cale's Susan - the nubile daughter the poor aristocratic couple longs to dispense with via marriage - is infectiously both high-spirited and roiled. Her voice a limpid and malleable soprano pouring forth in a sparkling flow, Cale lends her character rebellious contention in such demands as "How am I?", as well as delectable tender diminuendi as she and Phillipe finally prepare to spend time in the moonlight.