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BIOGRAPHY

In the current season Georgia Jarman makes her company debut with Malmö Opera as Manon under Leif Segerstam and sings her first Ellen Orford in Peter Grimes for Grange Park Opera under Stephen Barlow. Further ahead Georgia makes her company debut with Opéra National de Bordeaux as Musetta in La bohème. 2012/13 season highlights included Georgia’s critically acclaimed role debut as Maria Stuarda under Anthony Walker for Washington Concert Opera.

Georgia Jarman has given many distinguished performances in bel-canto repertoire throughout the United States and recently made an outstanding debut in the United Kingdom singing all four heroines in Richard Jones’ acclaimed production of The Tales of Hoffmann for English National Opera.

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REVIEWS

"Jarman gave a captivating, commanding performance of the piece, which is as relentless as a ticking clock. She mixed a flawless, vibrant sound with spot-on execution of both the piece's angular musical lines and its complex rhythms." (Elaine Schmidt, Tap Milwaukee, February 2014)

"Georgia Jarman as Mary, Queen of Scots, the title role, invested every note she sang with both meaning and beauty." (Anne Midgette, The Washington Post, April 2013)

"Discovery of the Year: Georgia Jarman.  Arriving unheralded out of the blue, the American soprano had audiences gasping in ENO's Tales of Hoffman: incarnating a coloratura-singing doll, her preternaturally agile voice and limbs seemed to morph in a way which was both comic and almost unbelievable." (Michael Church, The Independent, December 2012)

"Jarman was a stunning Lucia and was able to turn on a dime. In the climax of the opera, Lucia comes completely undone and it was the juxtaposition of her madness and the sheer beauty of Jarman’s voice that made it so unnerving. Jarman’s fioratura duet with glass armonica was exquisite, articulated flawlessly..." (Opera News, February 2012)

"In her Atlanta Opera debut, Jarman is captivating and flirtatious, especially with her lover Edgardo. Their connection is led by Jarman’s buoyant manner, echoed by her brilliant soprano. The duet is so lithe, so tender, at its end, one could hear the audience recovering from breathlessness...Jarman is an effortless coloratura, handling the complex ornamentation with such precision that her notes float with more clarity than the accompanying flute." (The Atlanta Journal Constitution)