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‘The story is of young love and betrayal, beautifully led by Soprano Anna Jeruc (Magda) and south Korean tenor, Jung Soo Yun (Ruggero.) Kopec, as well as having a beautiful and imposing voice, manages to capture a fragility and vulnerability to the role. Sitting less than an arm length’s away, her performance is extremely powerful... something truly unique and rather special.’
'But for once – just once – I was engaged here by a Polish soprano called Anna Jeruc who has a quality of voice beyond the reasonable expectations of a little show like this, and a theatrical intensity to match. The timbre of the voice is pearly, almost Gheorghiu like, with fierce attack and a generally secure coloratura...she's incredibly moving and dies so beautifully that for the first time ever Violetta's last gasps drew a small tear from my tired old critic's seen-it-all-before eyes."
' phenomenal, big-hearted performance by Anna Jeruc, who really lived the life of Violetta with fearless, touching, well sung moments...'
'At the head of the first of two casts, the Polish soprano Anna Jeruc conveyed Violetta's isolation and composure admirably. Her voice, in the small theater, sounded big and colorful and you could hear all the coloratura...Sempre libera had an interesting bite and potential delirium, and she showed off her emotional range impressively in Act 2. There were no melodramatic exaggerations in the last act, which was the strongest for it.'
'This is a triumph for Anna Jeruc. The audience said it all as she took her bow at the end, with numerous curtain calls. Performing here in her first role for Opera North, her soaring soprano is a joy to listen to, and she is physically perfect for the role. She is tall and slim, pale skinned and dark-haired and her acting ability brings joy and pathos to the massive role of Violetta. I spotted more than a few hands move surreptitiously towards their eyes to wipe away a tear as the tragic story'
BRITISH THEATRE GUIDE
'Polish diva Anna Jeruc takes over the role of Violetta... and this strengthens the production in several ways. Jeruc-Kopec owns and understands the role; we believe she is a woman who, about to pay a cruel price for having devoted her life to pleasure, allows her final steps to take another, more profound, more noble path. She sings the doomed woman’s arias with with passion and awareness, and curtain call is rightly greeted with a resounding ‘Brava!’ from many quarters of the auditorium'
London Evening Standard
‘Anna Jeruc is a Polish soprano - Verdi's notes come with a coquettishness and vulnerability that goes straight to the senses. They're beautifully controlled too, her first act tour de force explosive, yet not too large for this box of a theatre.’
'...a stunning Violetta in Anna Jeruc . She looked the part, sang with accomplishment and conviction, with feeling and personality. In between, we enjoyed Stephen Gadd's Georgio Germont...His duets with Anna Jeruc-Kopec were delightful, Jeruc-Kopec demonstrating how good her performance was in those moments of intense distress'
TIME OUT LONDON
Great singing redeems this production. Anna Jeruc, in particular, has near flawless technique and unusually expressive voice, making Violetta's arias haunting and memorable’
‘Anna Jeruc shines as Magda’
I quite strongly felt that soprano Anna Jeruc, who played Violetta Valery, the protagonist of the tale, stole the show, leaving behind her lover Alfredo Germont, for cheap seconds...took the evening to its zenith, with mind-blowing rendition...’
‘Anna Jeruc played Violetta with skill and passion. She rendered the arias with such clarity and emotion that her performance surpassed the barriers of language quite easily.’
ONLINE MUSIK MAGAZINE
‘Anna Jeruc verfügt als Pamina über einen warmen, wunderbar fülligen Sopran und lässt ihre großartigen Arien zu einem regelrechten Ohrenschmaus werden.’
‘...the raw, unamplified voices of the singers and the swooping orchestral accompaniment that really had us transfixed. The crescendos that the full cast singing together achieved – a soaring cacophony of human voices – were ludicrously, heart-wrenchingly epic. But it was the power and resonance of the singers, not the ‘yoof’ setting, that made the show feel special.’
Particular mention must be given to the lead roles, Anna Jeruc who sang Magda, and Jung Soo Yun as Ruggero. Both voices were perfectly suited to this repertoire. Kopec’s range and technical ability gave an emotional depth needed to make her character’s struggle believable, keeping the audience transfixed.’
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