Georgia Jarman
Soprano

"She nailed each note with glittering precision and high-flying ease, scattering vocal diamonds … audiences roared their delight.” (Opera News)

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Biography

Following a series of high-profile debuts throughout the United States and Europe, Georgia Jarman continues to impress in both the lyric coloratura and bel canto repertoire. Recent successes have included her highly acclaimed performances as Roxana in Kasper Holten’s new production of Krol Roger under Antonio Pappano, marking her Covent Garden debut, Gilda (Rigoletto) in her Santa Fe Festival debut and all four heroines in Richard Jones’ production of The Tales of Hoffmann for English National Opera.

This season Georgia makes her debut as Marguerite (Faust) with the Macau International Music Festival as

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Following a series of high-profile debuts throughout the United States and Europe, Georgia Jarman continues to impress in both the lyric coloratura and bel canto repertoire. Recent successes have included her highly acclaimed performances as Roxana in Kasper Holten’s new production of Krol Roger under Antonio Pappano, marking her Covent Garden debut, Gilda (Rigoletto) in her Santa Fe Festival debut and all four heroines in Richard Jones’ production of The Tales of Hoffmann for English National Opera.

This season Georgia makes her debut as Marguerite (Faust) with the Macau International Music Festival as well as returning to the Caramoor Festival for performances as Zenobia in Rossini’s rarely performed Aureliano in Palmira. In concert Georgia makes her debut with the Dutch National Radio Philharmonic in Szymanowski’s Stabat Mater under Markus Stenz.

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Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Reviews

"As Gilda, the soprano Georgia Jarman had a melting tone that benefited from hints of birdlike fragility." (New York Times, August 2015)

"Georgia Jarman sang with crystalline tone, but her capacity for nuanced expression was what truly distinguished her Gilda. “Caro nome” had an entrancing, lovesick aura." (Financial Times, August 2015)

"Georgia Jarman’s Gilda matched Kelsey’s stylistic elegance note for note. Her transparent Cara nome had all the acuti in place, sure, but Jarman’s vocal purity and effortless legato, plus her authentic prolonged trill, thrilled. Those ethereal tones in the final scene seemed heaven-sent." (Santa Fe Reporter, July 2015)

"Georgia

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"As Gilda, the soprano Georgia Jarman had a melting tone that benefited from hints of birdlike fragility." (New York Times, August 2015)

"Georgia Jarman sang with crystalline tone, but her capacity for nuanced expression was what truly distinguished her Gilda. “Caro nome” had an entrancing, lovesick aura." (Financial Times, August 2015)

"Georgia Jarman’s Gilda matched Kelsey’s stylistic elegance note for note. Her transparent Cara nome had all the acuti in place, sure, but Jarman’s vocal purity and effortless legato, plus her authentic prolonged trill, thrilled. Those ethereal tones in the final scene seemed heaven-sent." (Santa Fe Reporter, July 2015)

"Georgia Jarman, as Gilda, managed the trills as well as the pathos of her vocal part; her acting ignored physical age in order to bring out the naiveté of a girl who falls for a scoundrel, unfortunately not an age-defined pitfall at all. Jarman’s soprano had grace, which made her more likeable, less the victim, even as she was being tossed-around, raped and murdered. Even her bloody death aria had a certain sweetness to it." (Bachtrack, July 2015)

"Soprano Georgia Jarman proves to be a splendid Gilda, acting the part with forthright simplicity and displaying the vocal heft, timbre and agility needed to meet its demands. One of the evening’s high points was her aria “Caro nome,” which started in loveliness and ended five minutes later in otherworldly beauty — her coloratura encompassing some clearly articulated, sustained trills, to boot… Jarman’s aria “Tutte le feste al tempio” was similarly affecting, and the duet with her father into which it escalates was one of the evening’s most touching highpoints." (New Mexican, July 2015) 

"As Rigoletto’s daughter, soprano Georgia Jarman gives a carefully sculptured reading of “Caro nome” (dearest name) detailing her newfound love for the treacherous Duke. With a characterization naively innocent, her tones are pure and unfettered." (Albuquerque Journal, July 2015)

"The cast that surrounded him was vocally strong, with standout performances from the Gilda of New York soprano Georgia Jarman" (Opera Warhorses, July 2015)

"Queen Roxana may be easier to cast, even allowing for her spectacular music, but that should not diminish the achievement of Georgia Jarman in her Covent Garden debut, singing with rhapsodic voluptuousness in her second-act song and bringing a bejewelled quality of tone to her coloratura that was close to ideal." (John Allison, Opera Magazine, July 2015)

"Georgia Jarman delivered Roxana’s show-stealing coloratura with immaculate style" (Michael White, New York Times, May 2015)

"Georgia Jarman floated radiant sounds as his wife Roxana" (Richard Fairman, Financial Times, May 2015)

"The singing - notably by Kwiecien, Jarman, and Pirgu – is superb" (Michael Church, The Independent, May 2015)

"Georgia Jarman’s glamorous Roxana sang her songs of ecstasy in sensuous melismatic vocalises" (Hugh Canning, The Times, May 2015)

"As his Queen, American soprano Georgia Jarman’s free, joyful outpourings floated lyrically around the auditorium, like a rapturous reverie. She employed a judicious vibrato and was able to embody both a sensuous and maternal personae, reminiscent of Janačék’s Emilia Marty/Elina Makropoulos." (Claire Seymour, Opera Today, May 2015)

"Georgia Jarman, largely delicate and lyrical rather than a tweety-bird, avoided the traditional high interpolations but offered a live-wire top-range edge that allowed her to ride the quartet and Storm Scene" (David Shengold, Opera Magazine, October 2014)

"The bel canto ornamentation which was still very much a part of singers’ technique in the mid-nineteenth century was fairly restrained in this performance. One exception was 'O caro nome,' which could well serve as a poster child for the Caramoor approach. Georgia Jarman, who displayed a splendid, full voice, as well as a fine command and elegance in phrasing throughout the evening, sang the aria with a rich variety of ornament, but it was directed not so much toward vocal display as enhancing the expressive qualities of the tune, which is so familiar with audiences that it has lost much of its power. Only an exceptionally sensitive performance can bring this back, and Jarman succeeded in this by using the rests and dotted rhythms to convey the peculiar mixture of expectation and hesitation that wells up in the innocent, inexperienced girl’s heart and mind, as she contemplates the false name her lover has given her. Crutchfield’s direction supported this with empathy. The audience, who responded to the aria with long, enthusiastic applause, it seemed, was as thrilled to hear the music refreshed by the elaborate but tasteful ornamentation as to be brought so affectingly into Gilda’s intimate thoughts. Jarman’s performance excelled in every way." (New York Arts Magazine, September 2014)

“Georgia Jarman brought gravitas and dignity to the role of Ellen Orford, and suggested a real bond of warmth with Grimes’s silent apprentice. Her pleasing, clear voice bloomed at the top and gleamed in the middle. It was an ideal sound for the role.” (Opera, August 2014)

"As Gilda, Rigoletto’s beloved daughter, Georgia Jarman proved an ideally sonorous partner, singing with a creamy, elegant soprano and natural expressive instinct. Her “Caro nome” was distinguished by impressive trills and control." (Vivien Schweitzer, The New York Times, July 2014)

"The extraordinary performance of Ellen Orford by Georgia Jarman deserves immediate mention. The American soprano, who makes her Covent Garden debut next season, sings with gleaming beauty seldom encountered in this music, and finds layers in the character not always revealed." (John Allison, The Telegraph, June 2014)

"At the core of the action are Georgia Jarman’s Ellen and Carl Tanner’s Grimes – a pair of thwarted lovers as believable as any we’ve seen in the UK of late… Jarman’s Ellen was beautifully sung. The soprano’s voice is a rounded, glossy affair." (Alexandra Coghlan, The Arts Desk, June 2014)

"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)