Ann-Kristin Jones Mezzo-soprano

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I also want to emphasize Ann-Kristin Jones in the role of Astrid. With her warm mezzo-soprano, she chisels out an interpretation of real concern.

Thorvald Pellby Petterson, Swedish Radio, Vikingarna, Gothenburg Opera 2016.

Also outstanding was the portrayal of Cherubino by Ann-Kristin Jones, a young mezzo who switched between youthful impatience and pining away at every entry. Her soft high notes were especially effective in the many declarations of love, shaping her phrases into wide, sensuous legato arcs, made possible by apparently limitless supplies of breath.

Katharina Hogrefe, Bachtrack, Le nozze di Figaro Gothenburg Opera 2016. 

The confused Cherubino seems to stand in the way of all men when he lovingly looks at the women around him. His involvement contributes greatly to the game's magical allure and with Ann-Kristin Jones in this trouser role none of this androgynous person's many facets are lost.

Helen Flensburg, Borås tidning, Le nozze di Figaro Gothenburg Opera 2016.

On the way we had gotten ourselves into life a little minature opera, perfectly performed in both vocally and dramatically regard by Ann-Kristin Jones. Cleopatra's death treats the overexited tone that the main character is in without using other than the usual simple basic musical variables. And when they are used so cleverly as in this case, the drama also really became in the forefront.

Håkan Dahl, Göteborgs-Posten, H. Berlioz La mort de Cléopâtre GöteborgsOperan 2015.

Ann-Kristin Jones performs with routine and carries the quite extensive part for the mezzo-soprano truly genuine and nicely nuanced.

Søren Schauser, Berlingske, The Messiah, DR Concerthall Copenhagen 2014.

The trouser role Orsini is sung by Ann-Kristin Jones. With her beautiful and natural voice she is outstanding among the cast.

Ditte Hammar,, Lucrezia Borgia Gothenburg Opera 2012.

Ann-Kristin Jones gives a fine performance in the trouser role of Orsini, singing with crystal-clear heat, his love for Gennaro. 

Karin Helander, Svenska Dagbladet, Lucrezia Borgia Gothenburg Opera 2012.

In this trouser role Jones is perfect, her deep sound and dramatic vibrato give relief to the part as it grows in importance in the action.

Helen Axelsson, Borås Tidning, Lucrezia Borgia Gothenburg Opera 2012.

The strongest vocal performances took place in the duets, as in the fabulous dialogue between Gennaro (Bülent Bezdüz) and Maffio Orsini (Ann-Kristin Jones) at the start of the second act.

Magnus Haglund, Göteborgs-Posten, Lucrezia Borgia Gothenburg Opera 2012.

Between Gennaro and his soul mate Orsini one perceives an unshakable emotional relationship. Mezzo-soprano Ann-Kristin Jones’ theatrical energy transforms Orsini into a pivotal character in the drama.

Kjerstin Norén, Zenit, Lucrezia Borgia Gothenburg Opera 2012.

...then I want to mention Maffio Orsini, performed by Ann-Kristin Jones. What a voice and what a presence.

Barbro Elfström, Aktuellt i politiken, Lucrezia Borgia Gothenburg Opera 2012.

In its mysteriousness, the highly evocative role of Maffio Orsini has the function of a kind of horror-ballad angel of death, here shaped with finesse and clarity by Ann-Kristin Jones.

Lennart Bromander, Aftonbladet, Lucrezia Borgia Gothenburg Opera 2012.

An uncommonly expressive but dark, Alcina and musically nothing short of sensational. Ann-Kristin Jones positively overflows with vocal determination as Bradamante.

Lennart Bromander, Aftonbladet, Alcina Gothenburg Opera 2011.

In Gothenburg Opera’s pit conductor Laurence Cummings leads the ensemble and orchestra; dynamic, precise and vibrant. It becomes a “spritzy” vocal feast with Ida Falk Winland’s rippling Morgana, Katarina Karnéus’ potent Ruggiero, Ann-Kristin Jones’ velvety mezzo and Agneta Eichenholz’ regal Alcina.

Gunilla Brodrej, Expressen, Alcina Gothenburg Opera 2011.

Ann-Kristin Jones fills her Bradamante to the brim with irresistible warmth and youthful sheen.

Martin Nyström, Dagens Nyheter, Alcina Gothenburg Opera 2011.

Everyone is worth the acclaim. Among them Ann-Kristin Jones’ wonderfully awkward Bradamante.

Bo Löfvendahl, Svenska Dagbladet, Alcina Gothenburg Opera 2011.

Ann-Kristin Jones, as Bradamante, has a fascinating ability to emanate natural agility, in the midst of the most virtuosic of pirouettes.

Magnus Haglund, Göteborgs-Posten, Alcina Gothenburg Opera 2011.

This is a great breakthrough for Ann-Kristin Jones as Sesto, which is obsessed by revenge. Her body language and vocal fire are perfect in the arias, one by one.

Henry Larsson, Tidskriften Opera, Giulio Cesare Gothenburg Opera 2008.

Unfortunately there are only some short vocal fragments in the piece. You would have loved to hear more, considerably more, since Ann-Kristin Jones had such a completely perfect timbre for this music. Her short vocal fragments gave the piece a surprisingly spicy touch.

Håkan Dahl, Göteborgsposten, El Sombrero de Tres Picos with the Gothenburg Symphony Orchestra 2008.

The shining sun of the evening was Ann-Kristin Jones that with her flexible and colourful mezzo is bound to have great success in the world of opera. At the same time one may hope that she continues to cultivate her Lied singing, there are few singers that could stand up against Jones in this genre. Her vivid realization of the texts and her dramatic talent filled the songs with a seldom heard vitality. Her interpretations were so self exposed, so soulful, that you can’t speak of anything else then world-class!

Björn Gustavsson, Dala demokraten, Concert at Musik Vid Siljan with DalaSinfoniettan 2007.

Nothing seems to stop the hormonal torrent of Cherubino and nothing should stop Ann-Kristin Jones towards her next triumph. Her beautiful and highly profiled voice got the biggest applauses.

Carl-Gunnar Åhlén, Svenska dagbladet, The Marriage of Figaro Drottningholm Court Theatre 2006.

The Cherubino of Ann-Kristin Jones is a beautiful, full blood teenage lover. The power in her scenic expression and the clear tension in the singing makes the role the highlight of the show. An explosively knocking dynamo. You could easily imagine all that might happen before the future wedding between Cherubino and Barbarina, if it ever would take place. Wow!!!

Martin Nyström, Dagens Nyheter, The Marriage of Figaro Drottningholm Court Theatre 2006.

Ann-Kristin Jones interpretation of the youthful and horny page Cherubino is fully loaded with desire, lust and disobedience. When Jones sings her canzonetta to the lovesick countess, the notes force themselves through every frozen heart and you are helplessly longing for more.

Theresa Benér, Svenska Dagbladet, The Marriage of Figaro Malmö Opera 2006.

Vocally in a class of her own is Ann-Kristin Jones as Cherubino. She is naturally boyish without exaggeration and the flexible voice shimmers with colours and overtones.

Lennart Bromander, Aftonbladet, The Marriage of Figaro Malmö Opera 2006.

Above all I am fascinated by Ann-Kristin Jones page, so wonderfully frightened by his erection and with the most beautiful Swedish diction I have heard for a very long time.

When she sings there is no need for sur-titles!

Martin Nyström, Dagens Nyheter, The Marriage of Figaro Malmö Opera 2006.

After her fine effort the other day in the Messiah, Ann-Kristin Jones won further respect with her engaging intensity and her exciting and stylistically convincing mezzo-sound that is glowing as well as floating. I believe that we can expect a great deal from her in the future.

Jan Jacoby, Politikken, Christmas Oratorio Sjaelland Symphony Orchestra 2004.

Immediately when hearing mezzo-soprano Ann-Kristin Jones, the wish to join her fan-club appears. The warm, generous and natural timbre, that makes this voice so special, has matured during the last year and made the voice even richer. As velvet it caresses the ear with carefully formed phrases. Her interpretation of ‘He was despised’ was one of the greatest climaxes of the concert.

Martina Jarminder, Sydsvenska Dagbladet, The Messiah 2004.