Press Reviews
The Turn of the Screw Oxford Opera Company
Sara Jonsson's
rich-voiced, poised Governess completed the cast. Swedish-born Jonsson, who has
a powerful stage presence, also directed, using simple devices and minimal props
to clever effect.'
Fiona Maddocks, Opera, May 2008
This was a thoroughly professional production and
performance, to be judged by professional standards. It was directed by Sara
Jonsson who also took the role of the Governess - a daunting combined task
confidently executed...From her first appearance Jonsson established her mastery
of the role of the Governess, a subtle interpretation conveying the nuances of
her state of mind and relations to others.
The Turn of the Screw; Peter Schoefield
Oxford University Magazine March 2008
The progression of Jonsson's Governess from
maternal rapture to unhinged near-mania was compelling, but never overdone. Her
tone was suitably zealous, and her sudden outbursts - 'They are mine, mine, the
children!' - perfectly dramatised the imperceptible shading of the ghosts'
parasitic relationship with the children into her own unhealthy possessiveness
and obsession with their salvation.
The Turn of the Screw; Helena See, Oxford Student February 2008
The inimitable atmosphere was owed largely to a sterling cast. Sara Jonsson gave
an extremely expressive performance as the Governess. She moulded her powerful
voice to fit the nuances of dynamics and tempo, combining these with vivid
facial expressions and gestures.
The Turn of the Screw; Hannah Nepil, Cherwell February 2008
The chapel turned out to be the perfect venue for the opera. The story is set in
Bly House, an old crumbling pile in Essex, and the chapel served as a dynamic
space, becoming at times a long, spooky corridor, the altar doubling up as the
children's schoolroom/nursery, the great height of the ceiling giving the
impression of a large open hall, then appearing as a stately garden from which
the organ loft served as a tower of the house. It was an incredibly innovative
use of space by director Sara Jonsson, and the acoustics served the ghostly
voices and dissonance of the orchestra perfectly - I think everyone was suitably
uneasy by the end of the performance.
P.Viktor February 2008
Sara Jonsson providing a regal yet humane
governess.
The Turn of the Screw; Oxford Times February 2008
Sara Jonsson's cool Countess, fulsome in salmon
frock and bouffant wig, delivered beautifully phrased arias ... discernable by
superior vocal delivery and ritzy costuming.'
The Marriage of Figaro; Julia Hollander
Opera Now, January/February 2007
The biggest scene-stealer was the Witch of Sara
Jonsson. She turned in a performance of zappy pazazz as a Bette Midler
look-alike, her chic outfit completed by a neat little magic wand, her
eye-flashing delivery turning us all to jelly - undoubtedly one of her best
recipes.
Hansel and Gretel; Christopher Morley
Opera, June 2006 / The Birmingham Post, March 2006
Ravel's Shéhérazade is pure symbolist poetry.
Sara Jonsson was stunning in voice and appearance. Dressed in a pre-Raphaelite
gown and with great statuesque presence, she dominated the performance. Her
beautiful voice expressed in perfect French, was used to great effect in emphasising every nuance of the poems. Particularly effective was the short song
The Enchanted Flute in which the duo with the first flute proved
magical.
Anthony Harris
The Herts Advertiser, June 2005
....Sara's admirable presence, full of
understanding of the intent of the work and clear-voiced solo lines. I would
certainly like to hear it again.
Shéhérazade; John Westcombe
St Albans Observer, June 2005
Throughout her recital,
Sara sang with great clarity and and musicality, showing that necessary sense of
identification with each particular song which is the hallmark of the true
lieder specialist, though she has also undertaken quite a few operatic roles in
her blossoming career. The clarity of diction and the atmosphere evoked in her
English group would put to shame some native singers and the whole recital was
much enjoyed by those present.
Brian Midgley
The Stratford Herald, May 2005
Suitably prim and proper - a Jane Eyre with an
excellent soprano voice.
The Turn of the Screw;
The Oxford Student
February 2004
Rightly dominating is The Governess of Swedish soprano Sara Jonsson, vocally
luminous and with a stage presence more suggestive of the troubled yet tough
character in Henry James's original story than any I have seen.
The Turn of the Screw;
Hugh Vickers, The Oxford Times
February 2004
Sara Jonsson
was well cast as The Governess, emphasising the character's desire for
rationality and clarity as events intensify around her.
The Turn of the Screw;
Andrew Blades, BBC Oxford
February 2004
COMMENTS
She is a marvellous
performer and has a fabulous voice and is well worth hearing.
Gillian Stansfield, Secretary, St Albans
Symphony Orchestra
Sensitive, warm and
immediate singing with a beautiful, ringing quality. Marvelous feeling for
words in all languages and completely convincing singing of them.
Linda Hirst, Head of
Vocal Department, Trinity College, London
St John's Singing Competition, Adjudicator
Beautifully poised
performance, held attention throughout. An excellent recital, beautifully
performed and held the audience and myself enraptured.
Michal Lessiter, The
Royal Opera
St John's Singing Competition, Adjudicator