Arabella in Oviedo, Spain. November 2024
“En el plano musical, tanto Jessica Muirhead como Heiko Trinsinger, sustentaron con firmeza el peso de la obra de Strauss, la soprano evidenciando un caudaloso registro medio, una proyección imponente y un vibrato controlado, todo ello coronado con unos pianísimos delicados y sutiles.”
ENGLISH TRANSLATION: “Musically, both Jessica Muirhead and Heiko Trinsinger firmly supported the weight of Strauss’s work, the soprano displaying a rich middle register, imposing projection and controlled vibrato, all crowned with delicate and subtle pianissimos.”
– Jonathan Mallada, Opéra Actual
“Jessica Muirhead en el rol protagónico actuó a buen nivel dando muestras de una bonita voz con abundantes recursos expresivos, al igual que María Hinojosa en el papel de la hermana pequeña y disfrazada de hombre, Zdenka; ambas fueron las triunfadoras de la noche, destacando su dúo del primer acto.”
ENGLISH TRANSLATION: “Jessica Muirhead performed well in the lead role, displaying a beautiful voice with abundant expressive resources, as did María Hinojosa in the role of the younger sister, disguised as a man, Zdenka; both were the winners of the evening, with their duet in the first act standing out.”
– Nuria Blanco Àlvarez, codalario.com
Eva in Die Meistersinger von Nürnberg in Copenhagen March 2025
“Jessica Muirhead (Eva) hat eine ausgeglichene Stimme mit einem leichten, von ihr mit Umsicht eingesetzten Vibrato in der hohen Lage. Sie kann, wenn nötig, auch hochdramatische Töne anschlagen. ”
ENGLISH TRANSLATION: “Jessica Muirhead (Eva) has a balanced voice with a light, carefully used vibrato in the upper register. She can also strike highly dramatic notes when necessary.“
– Dr Martin Knust, operapoint.com
“Som de unge, hhv. Eva og Walther, var hhv. Jessica Muirhead og Magnus Vigilius de rigtige valg. Sidstnævnte omfavnede med sin mægtige tenorrøst den rette ukuelighed og ubeherskede rastløshed, der kendetegner den helt unge kærlighed. Samtidig et fint komisk overskud. Muirhead var omvendt en fin og rørende Eva, der ikke blot fungerede godt sammen med Walther, men måske særligt i scenen sammen med Hans Sachs i 2. akt.”
ENGLISH TRANSLATION: “As the young people, Eva and Walther, Jessica Muirhead and Magnus Vigilius were the right choices… Muirhead, on the other hand, was a fine and touching Eva, who not only worked well with Walther, but perhaps especially in the scene with Hans Sachs in the second act.”
https://aarsskriftet-critique.dk/2025/03/opera-mestersangerne-i-nurnberg/
“The Canadian Jessica Muirhead with a strong, resonant voice played as Eva.”
Eva Maria Jensen, Maestro.net.pl
Suor Angelica in Essen, Germany 2023
“In der Titelpartie glänzt Jessica Muirhead mit einem herzergreifenden Rollenportrait, fein nuanciert und mit bestem Puccini-Sound in der Stimme.”
ENGLISH TRANSLATION: “In the title role, Jessica Muirhead shines with a heart-rending portrayal of the role, finely nuanced and with the best Puccini sound in her voice.”
– Sebastian Jacobs, der Opernfreund
“Dann liegt Jessica Muirhead im Wasser. Im Spiegelbild sieht es aus, als würde sie in den Himmel fahren. Erlösung. Ein großartiges Traumbild! Doch dann folgt das Selbstmordfinale, in der Puccini die moralischen Zweifel daran mit heutigen Ohren nicht ganz glücklich auswalzt. Aber Jessica Muirhead nutzt die Szene wie auch alle zuvor großartig. Ihre sich häufenden Extra-“c“ hat Puccini beabsichtigt zu Verzweifelungsschreien freigegeben. Extra Jubel für sie vor der Pause.”
TRANSLATION: “Then Jessica Muirhead lies in the water. In the reflection, it looks as if she’s ascending to heaven. Salvation. A magnificent dream image! But then comes the suicide finale, in which Puccini unpacks the moral doubts surrounding it in a way that, to modern ears, doesn’t quite resonate. But Jessica Muirhead uses the scene, as she has all the previous ones, magnificently. Puccini has intentionally released her accumulating extra “C”s into cries of despair. Extra cheers for her before the interval.”
– Sabine Weber klassikfavori.de
“Jessica Muirhead stand zu Recht und hochverdient im Beifallssturm des Publikums. Ihre Darstellung der verzweifelten Suor Angelica ging unter die Haut. Die Gestaltung ihrer Arie „Senza mamma…“ war sicher einer der Höhepunkte des gesamten Premierenabends, eigentlich nur noch getoppt durch die finale Sterbeszene der Angelica, wenn sie die Jungfrau Maria um Vergebung bittet. („O Madonna, salvami!„). Das sind sie. Die Momente, in denen der Opernfan weiss, weshalb er diese Kunst so liebt. Bravo für Jessica Muirhead!”
TRANSLATION: “Jessica Muirhead rightfully and deservedly received a storm of applause from the audience. Her portrayal of the desperate Suor Angelica went under the skin. The performance of her aria “Senza mamma…” was certainly one of the highlights of the entire premiere evening, only topped by Angelica’s final death scene, when she begs the Virgin Mary for forgiveness (“O Madonna, salvami!”). These are the moments when opera fans know why they love this art so much. Bravo to Jessica Muirhead!“
– Detlef Obens, das Opernmagazin
“Truly riveting was the natural intensity shown by Jessica Muirhead as Suor Angelica from the very start of the opera. From her body language and her gaze, this was not a complete person but the vestiges of a scarred woman. There was serenity, but also screaming internal suffering, marvelously achieved without histrionics or affectation. In the league of Janet Baker, Susan Chilcott, Josephine Veasey, Pauline Tinsley and Rosalind Plowright, Muirhead possesses that interiority, unique to British singers. They mesmerize the audience before a note is sung. This comes from a total and complete interiorization of the role, a task very few can ever hope to achieve.
Muirhead was equally brilliant, vocally and dramatically. Her lyric soprano was distinctively crystalline, her technique impeccable and her diction excellent. Her aria “Senza mamma” was sensational, bringing many, including me, to tears. This is truly a unique voice. Angelica’s suicide was at the behest of her child, imploring her to join him in Heaven. Realizing the gravity of her sin, she envisions the Virgin Mary, a sign of divine forgiveness. But here, the director eschewed that vision, perhaps deeming it too religious in our present secular society. Nevertheless, the scene’s powerful poetry was deftly communicated through Muirhead’s dramatic intensity. Move over, Mary! Muirhead was the miracle incarnate. A singer of this calibre and intensity is rare indeed, more so than performances of this once‑rare Puccini opera.” – Ossama el Naggar, concertonet.com
“Jessica Muirhead had er duidelijk goed aan gedaan flink uit te zieken voor ze zich aan haar persoonlijke première waagde. Ik was zeer van haar onder de indruk vanwege het ogenschijnlijke gemak waarmee de moeilijkste passages werden gezongen, nergens te luid, steeds met volledige beheersing. Muirhead beheerst de partij volledig en kan dit op het toneel ook laten horen. Niet perfect natuurlijk maar heel erg goed. Alle hulde aan deze Aalto diva.”
TRANSLATION: “I was very impressed by the apparent ease with which the most difficult passages were sung, never too loudly, always with complete control. Muirhead has complete command of the part and can show this on stage. Not perfect of course, but very good. All praise to this Aalto diva.”
– Peter Franken operamagazine.nl
Amelia in Simon Boccanegra, Essen
“Jessica Muirhead als Amelia Grimaldi begeistert nicht minder und zeigt ein Rollenportrait, das alle Höhen und Tiefen der Figur stimmlich vortrefflich auslotet. Daniel Luis de Vicente ist ein wunderbarer Simon Boccanegra, der genau weiß, wie er zwischen Pathos und Menschlichkeit, zwischen leisen Tönen und staatsmännischem Forte zu agieren hat. Er füllt die Partie mit immenser Energie und lässt auch szenisch keine Wünsche offen.”
TRANSLATION: “Jessica Muirhead as Amelia Grimaldi is no less thrilling, delivering a portrayal of the role that superbly explores all the highs and lows of the character vocally. Daniel Luis de Vicente is a wonderful Simon Boccanegra, who knows exactly how to act between pathos and humanity, between soft tones and statesmanlike forte. He fills the role with immense energy and leaves nothing to be desired in terms of theatrical performance.”
– Sebastian Jacobs, der Opernfreund