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

Georgia Jarman has given many distinguished performances in the lyric coloratura repertoire throughout the United States and Europe and recently made an outstanding debut for English National Opera singing all four heroines in Richard Jones’ acclaimed production of The Tales of Hoffmann. A sought-after artist in bel canto repertoire, she has made numerous appearances at the Caramoor Music Festival with the Orchestra of St. Luke’s including, most recently, her acclaimed role debut as Gilda (Rigoletto), as well as Amenaide (Tancredi) alongside Ewa Podles, Norina (Don Pasquale) and Amina (La sonnambula). Other bel canto roles include Marie (La fille du regiment) and

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Georgia Jarman has given many distinguished performances in the lyric coloratura repertoire throughout the United States and Europe and recently made an outstanding debut for English National Opera singing all four heroines in Richard Jones’ acclaimed production of The Tales of Hoffmann. A sought-after artist in bel canto repertoire, she has made numerous appearances at the Caramoor Music Festival with the Orchestra of St. Luke’s including, most recently, her acclaimed role debut as Gilda (Rigoletto), as well as Amenaide (Tancredi) alongside Ewa Podles, Norina (Don Pasquale) and Amina (La sonnambula). Other bel canto roles include Marie (La fille du regiment) and Giulietta (I capuleti e i montecchi) for Florentine Opera, Mathilde (Guillaume Tell) at the Teatr Wielki in Warsaw and her first Lucia (Lucia di Lammermoor) for Atlanta Opera.

This season Georgia makes her debut at The Royal Opera House Covent Garden as Roxana in Kasper Holten’s new production of Szymanowski’s Król Roger under Sir Antonio Pappano. She returns to the role of Gilda for her debut with the Santa Fe Opera in Lee Blakely’s new production of Rigoletto. Further season highlights include her debut for Opéra National de Bordeaux as Musetta in La bohème and, in an ambitious concert and recording project with Florentine Opera, as Cathy in Carlisle Floyd’s Wuthering Heights.

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Contacts

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

Reviews

“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

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“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)