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 at The 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 at The Gothenburg Opera 2011
Ann-Kristin Jones fills her Bradamante to the brim with irresistible warmth and youthful sheen.
Martin Nyström, Dagens Nyheter, Alcina at The Gothenburg Opera 2011
Everyone is worth the acclaim. Among them Ann-Kristin Jones’ wonderfully awkward Bradamante.
Bo Löfvendahl, Svenska Dagbladet, Alcina at The 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, Göteborgsposten, Alcina at The 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 at the 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 at 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 at 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 at the 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 at the 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 at the 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 with 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