Press & Reviews
‘Jessica Cale’s Poppea was stylish and elegant. Strong-minded, yes, but always with a considered sense of musicianship and upright bearing. Somehow, she felt far less self-serving than usual, and Cale’s performance was mesmerising, she drew the eye and ear at every turn… the pairing of Nero and Poppea here seemed much more sympathetic than can often be the case. Their duets, from the opening to the luscious final one, were elegantly seductive.’ Opera Now - Robert Hugill, October 2023
‘Throughout, Jessica Cale is an articulate, lyrical Poppea, using her sexual power to ensure that her career path is upwards…’ The Stage, October 2023
‘Jessica Cale’s Poppea is magnificently self-assured, coolly using her sexuality for her own ends and ambitions…’ The Guardian, October 2023
‘There is some strong singing from Jessica Cale as the sultry Poppea’ The Telegraph, October 2023
‘There is an attractive hypnotic quality (a question of design as well as pacing) that draws you in. There is something glacial about Jessica Cale’s Poppea, but very watchable…’ Gramophone, October 2023
‘Naturally, Nero (Martha Jones, natty in a sparkly trouser suit) and Poppea (Jessica Cale, slinky and seductive, as the part demands) dominate…’ Evening Standard, October 2023
‘Jessica Cale’s languidly wheedling Poppea’ The Times, October 2023
‘Cantata Christen, ätzet diesen gave Jessica Cale (a last-minute step-in for the indisposed Rachel Redmond) the chance to shine in duet “Gott, du hast es wohl”, her bloomy soprano set in relief by bass Robert Davies.’
iNews, Jan 2023
‘The tenor-soprano duet Ehre sei Gott, based on the traditional Christmas text Glory to God in the highest, introduced the soprano Jessica Cale, singing nimbly despite being a last-minute replacement.’
The Telegraph, Jan 2023
‘…compared with the even more pivotal than usual characterisation of Susanna sung by Jessica Cale… vocally the pair are a delight… The duet between the Countess and Susanna ‘Sull’Aria’ allowed the two sopranos’ voices to work together exquisitely.’
Opera Scene, August 2022
‘Auntie’s two Nieces were played by sopranos Patricia Westley and Jessica Cale, both of whom put in strong performances. While they were suitably flirtatious and off-hand with the clients of ‘The Boar’ public house, they also managed to successfully capture the misery and reality of their jobs.’
Operawire, July 2022
‘The young lovers were astonishingly well cast and – crucial for this opera I suspect? – they generally had youth on their side. Fiordiligi is the character who is most conflicted by events and has the biggest arc – which Jessica Cale with her bright eloquent soprano created perfectly – from professing Fiordiligi’s rock-like constancy in ‘Come scoglio’, her tenderly introspective ‘Per pietà’, to her succumbing to the impassioned Ferrando in their ‘Fra gli amplessi’ Act II duet.’
Seen and Heard International, February 2022
‘The partner-swapping quartet of lovers was just as neatly drawn. Jessica Cale guided us through the gradual erosion of Fiordiligi’s resolve with considerable subtlety. Her lead into ‘Come scoglio’ and the aria itself were expertly phrased and shaded, all the more affecting for aspiring to be a sternly purposed Baroque scena, and in Act 2 she got straight to the point of being careful what you wish for in a heart-breaking ‘Per Pietà.’
Peter Reed - Opera Magazine, Feb 2022
‘Cale has a lovely, fresh voice that is simultaneously highly emotive – a winning combination in this repertoire. The aria, ‘Se tiranni, oh Dei, non siete’ (‘If you are not tyrants, oh Gods’) is representative of the J. C. Bach everyone knows and loves. There’s a cleanliness and directness of expression; everything is the very definition of tasteful and well-balanced. Cale’s handling of intervallic leaps is remarkable – utterly clean, ever perfectly in tune. She captured the gloriously lyrical basis of Bach’s aria, too – Diana is here lamenting falling in love with Endimione (Endymion)… Gassmann is no Mozart (even a 16-year-old Mozart) but his music is engaging, as was Cale’s performance. Page’s players enlivened the recitative as much as is possible, and the simile of a storm brought forth some properly virtuoso singing from the soprano.’
Seen and Heard International, Jan 2022
Read Jessica’s interview with The Bow and Baton here:
http://thebowandbaton.com/interview-with-jessica-cale-winner-of-the-kathleen-ferrier-awards-2020
Opera Today’s review of the 2020 Kathleen Ferrier Awards can be found here:
https://operatoday.com/2020/12/the-2020-kathleen-ferrier-award-final/
‘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.’
Opera Today
‘[Jessica Cale] gave a very impressive performance of È gelosia quella tiranna from Serse and Guardian angels, O protect me from The Triumph of Time and Truth, 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.’
York Press
‘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 soignée am I?", as well as delectable tender diminuendi as she and Phillipe finally prepare to spend time in the moonlight.’
Broadway World
‘Throughout, Jessica Cale is an articulate, lyrical Poppea, using her sexual power to ensure that her career path is upwards…’ The Stage, October 2023
‘Jessica Cale’s Poppea is magnificently self-assured, coolly using her sexuality for her own ends and ambitions…’ The Guardian, October 2023
‘There is some strong singing from Jessica Cale as the sultry Poppea’ The Telegraph, October 2023
‘There is an attractive hypnotic quality (a question of design as well as pacing) that draws you in. There is something glacial about Jessica Cale’s Poppea, but very watchable…’ Gramophone, October 2023
‘Naturally, Nero (Martha Jones, natty in a sparkly trouser suit) and Poppea (Jessica Cale, slinky and seductive, as the part demands) dominate…’ Evening Standard, October 2023
‘Jessica Cale’s languidly wheedling Poppea’ The Times, October 2023
‘Cantata Christen, ätzet diesen gave Jessica Cale (a last-minute step-in for the indisposed Rachel Redmond) the chance to shine in duet “Gott, du hast es wohl”, her bloomy soprano set in relief by bass Robert Davies.’
iNews, Jan 2023
‘The tenor-soprano duet Ehre sei Gott, based on the traditional Christmas text Glory to God in the highest, introduced the soprano Jessica Cale, singing nimbly despite being a last-minute replacement.’
The Telegraph, Jan 2023
‘…compared with the even more pivotal than usual characterisation of Susanna sung by Jessica Cale… vocally the pair are a delight… The duet between the Countess and Susanna ‘Sull’Aria’ allowed the two sopranos’ voices to work together exquisitely.’
Opera Scene, August 2022
‘Auntie’s two Nieces were played by sopranos Patricia Westley and Jessica Cale, both of whom put in strong performances. While they were suitably flirtatious and off-hand with the clients of ‘The Boar’ public house, they also managed to successfully capture the misery and reality of their jobs.’
Operawire, July 2022
‘The young lovers were astonishingly well cast and – crucial for this opera I suspect? – they generally had youth on their side. Fiordiligi is the character who is most conflicted by events and has the biggest arc – which Jessica Cale with her bright eloquent soprano created perfectly – from professing Fiordiligi’s rock-like constancy in ‘Come scoglio’, her tenderly introspective ‘Per pietà’, to her succumbing to the impassioned Ferrando in their ‘Fra gli amplessi’ Act II duet.’
Seen and Heard International, February 2022
‘The partner-swapping quartet of lovers was just as neatly drawn. Jessica Cale guided us through the gradual erosion of Fiordiligi’s resolve with considerable subtlety. Her lead into ‘Come scoglio’ and the aria itself were expertly phrased and shaded, all the more affecting for aspiring to be a sternly purposed Baroque scena, and in Act 2 she got straight to the point of being careful what you wish for in a heart-breaking ‘Per Pietà.’
Peter Reed - Opera Magazine, Feb 2022
‘Cale has a lovely, fresh voice that is simultaneously highly emotive – a winning combination in this repertoire. The aria, ‘Se tiranni, oh Dei, non siete’ (‘If you are not tyrants, oh Gods’) is representative of the J. C. Bach everyone knows and loves. There’s a cleanliness and directness of expression; everything is the very definition of tasteful and well-balanced. Cale’s handling of intervallic leaps is remarkable – utterly clean, ever perfectly in tune. She captured the gloriously lyrical basis of Bach’s aria, too – Diana is here lamenting falling in love with Endimione (Endymion)… Gassmann is no Mozart (even a 16-year-old Mozart) but his music is engaging, as was Cale’s performance. Page’s players enlivened the recitative as much as is possible, and the simile of a storm brought forth some properly virtuoso singing from the soprano.’
Seen and Heard International, Jan 2022
Read Jessica’s interview with The Bow and Baton here:
http://thebowandbaton.com/interview-with-jessica-cale-winner-of-the-kathleen-ferrier-awards-2020
Opera Today’s review of the 2020 Kathleen Ferrier Awards can be found here:
https://operatoday.com/2020/12/the-2020-kathleen-ferrier-award-final/
‘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.’
Opera Today
‘[Jessica Cale] gave a very impressive performance of È gelosia quella tiranna from Serse and Guardian angels, O protect me from The Triumph of Time and Truth, 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.’
York Press
‘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 soignée am I?", as well as delectable tender diminuendi as she and Phillipe finally prepare to spend time in the moonlight.’
Broadway World