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 R E V I E W S

"Z głosów damskich najbardziej interesująca była Matylda – Anna Jeruć, która karierę rozpoczęła za granicą, więc w Polsce jest mało znana; barwę głosu ma naprawdę ładną"

(Wilhelm Tell - Teatr Wielki Warszawa - recenzja - B.Szwarcman - Blog)



"Anna Jeruć (delikatna, błyskotliwa, słuchająca partnerów)"

(Wilhelm Tell - Teatr Wielki Warszawa - recenzja - Gazeta Wyborcza)



"Ona – Anna Jeruć, przejmujący sopran."

 (Wilhelm Tell - Teatr Wielki Warszawa - recenzja - Centrum PR)



"Partnerująca mu Anna Jerućwytrzymała podczas swojej partii, stojąc na wysokiej pochylni bez asekuracji. Była piękna, szlachetna, a jej sopran brzmiał bardzo jasno i atrakcyjnie dla słuchacza. Wszyscy wstrzymali oddech ze strachu i podziwu dla jej umiejętności wokalnych oraz zimnej krwi."

(Wilhelm Tell - Teatr Wielki Warszawa - recenzja - Teatr dla Was)



'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. But above all, she's incredibly moving and dies so beautifully that for the first

time ever (and I mean this) Violetta's last gasps drew a small tear from my tired old critic's seen-it-all-before eyes...'

Michael White - THE TELEGRAPH


'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 unfolds."



"Polish diva Anna Jeruc takes over the role of Violetta from Hye-Youn Lee, and this strengthens the production in several ways. While Lee made a sweet, vulnerable heroine, she always seemed too young and fragile for opera’s prima demimondaine. 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 passion and awareness, and her curtain call is rightly greeted with a resounding ‘Brava!’ from many quarters of the auditorium...Tonight's audience revels in the triumph of delight. Brava..."





‘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.’

Kireon Quirke - London Evening Standard



' phenomenal, big-hearted performance by Anna Jeruc, who really lived the life of Violetta with fearless, touching, well sung moments...'



‘ in that quality essential to all theatrical life, energy, and boast two sopranos who attack the challenges of the leading roles with

tremendous gusto... Anna Jeruc sings with some brilliance and panache in the title-role.’

R.Christiansen – THE TELEGRAPH


'Polish born soprano Anna Jeruc was an intense, brilliant-edged Violetta, full of vocal thrills; her robustness in the early part of the opera made her seem all the more touching in her demise'

OPERA NOW - Ashutosh Khandekar 


'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.'




'The other Violetta was Polish-born Anna Jeruc ... Another splendid singer on the festival circuit, she didn’t much like being confined to her bed. Perhaps she’ll do a Gheorghiu when she reprises the roles… at this year’s Wexford festival.'

THE GRAMOPHONE - Anthony Craig

La Traviata - Dorset Opera - dir.Jonathan Miller,  cond. P.Thomas



‘Great singing redeems this production. Anna Jeruc, in particular, has near flawless technique and unusually expressive voice,

making Violetta's arias haunting and memorable’

Time Out London


‘The story is of young love and betrayal, beautifull y 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.’



‘Anna Jeruc - Kopec shines as Magda’

The Guardian



‘That’s partly due to the tremendous performance by Polish soprano Anna Jeruc (pictured) as Violetta, dressed in corset, fish-net

tights and boa. She ascends the top notes with ease and packs a real punch in duets with Joe Morgan singing Alfredo, the City banker

who falls under her spell.’

Camden New Journal


They say that Violetta in La Traviata is one of opera's hardest soprano parts. Violetta changes character completely over the opera's

three acts – all the way from voracious party girl to delicate, dying consumptive – and the singer must be in complete control of the role

to make this work. The musical part, of course, is hardly easy either. But add to this the proviso that Violetta perform the whole of Act I in

a corset, dancing around a chair and flirting with the audience, and the feat really starts to seem impressive. Anna Jeruć-Kopeć was

hugely successful as Violetta, stretching over the dramatic range the part demands as elegantly as she stretched over that chair in Act I.’

Bachtrack – Paul Kilbey


‘Vocal highlights ... especially, the Pamina of Anna Jeruc whose lush, warm soprano made clear that she, for Tamino, was the

object of his drama.’

Opera Con Brio


‘Anna Jeruc in the starring role was sensational, with a fiery Italian temperament and a pure, moving voice … as Magda sang her

final aria with real tears streaming down her cheeks, I was even tempted to hand her a tissue.’

Fringe Opera Magazine - Francesca Wickers


‘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...’

Daily News and Analysis


‘Anna Jeruc (Kopec) 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.’

The Hindu


‘Joe Morgan has great chemistry with Jeruc and their duets are beautiful to watch. Svanholm and Jeruc-Kopec have the best

scenes, because the meeting of Violetta and Giorgio is one of open-minded people from different social backgrounds, and depicts them

as people ahead of their time. Violetta’s final moments are highly emotional and Jeruc-Kopec once again had the audience eating out of

her hands.’

New Straits Times – Dennis Chua



‘On the night I went, the part of Violetta was sung by Anna Jeruc - a gorgeous Polish soprano of enormous sexual energy and a

wonderful soaring soprano who made the difficult arias seem to happen without effort. This is a truly remarkable voice ... Her

sophistication is perfectly matched by the boyishness and innocence of her lover Alfredo - again effortlessly sung by Joseph Morgan’ - Aline Waites



‘Polish Soprano Anna Jeruć delivers a powerful Violetta, too powerful at times for the tiny Gatehouse Theatre and its questionable

acoustics. She deserves a bigger stage and, on the basis of this performance, it won’t be too long before she gets it.’

Totteham and Woodgreen Journal - David Ladds



‘Sempre Libera now includes a lap dance on one lucky audience member. Since Anna Jeruc-Kopec who plays Violetta has a great set of

legs to match her set of lungs, it came as no surprise when she started to get a good mauling by the audience...’

PaulInLondon Online Review



‘La Traviata - an Eastern European burlesque dancer sung with spirirt by Anna Jeruc’ The Times - Neil Fisher

‘Anna Jeruć -Kopeć entrances as Violetta, exuding passion expressed through consistently impressive and sometimes brilliant vocals.

Violetta's final struggle is carried off very well by Jeruć-Kopeć, who is visibly emotional and wholly consumed by her fate. ‘

Vanessa Bunn – Extra Extra




‘Jeruc' voice, in particular, was simply astounding.’

The Edge Malaysia



‘Anna Jeruc gave a touching performance in the title role – some lovely singing portraying the gradual realisation of her betrayal and

leading to her ultimate suicide’

The Guardian (Lancaster)



‘...Anna Jeruc is a jewel...’

Zygmunt Broniarek – Przeglad Warszawski



‘Anna Jeruc-Kopec as Magda sings with an intense and lustrous sound, that glimmers with intensity at the top register of her voice and

Jung Doo Yun performs as the young Ruggero tackling the younger and more naive role with aplomb and veracity… when singing

together they produce such a sizzling ferocity that you can believe these two are willing to risk everything for the sake of love.’

Be The Red Carpet - Hannah Hallison



‘Particular mention must be given to the lead roles, Anna Jeruc-Kopec 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.’

WS London –Joss Meek



‘The singing is first rate (particularly Anna Jeruc-Kopec as Magda pictured above), the event is all about kicking the perceived elitism of

regular opera to the curb and encouraging a new crowd to access the medium.’

Huffpost Culture – Kate McAuley


‘Magda - played by the beautiful Polish Soprano Anna Jeruc - Kopec. We could feel the anger of Rumbaldo and Ruggero and the sorrow

of Magda, an experience that I will hardly forget and worth trying.’

Ronard Summers - WildSwans



‘Magda played by powerful soprano Anna Jeruc-Kopec’

Pete Sten



‘Among the main actors, Polish soprano Anna Jeruc-Kopec (below) playing Magda was particularly accomplished; ...young and goodlooking


Bristol Culture



‘...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.’

The Crack – Adam Corner



‘Think, for a moment, about the human body; the reason Adele always, always stands and moves that way when she sings, is that that’s

what it takes to make that sound come out. Everything must be just so. But outstanding lead actress Anna Jeruc-Kopec wasn’t standing

like Adele, and was hitting infinitely more vocally challenging notes, perfectly, while lying on her side with her head on a duvet. It doesn’t

make a lick ‘o sense, from a physics perspective, and yet there it is.’

The Sabotage Times – Duncan Brown



‘Anna Jeruc-Kopec verfügt als Pamina über einen warmen, wunderbar fülligen Sopran und lässt ihre großartigen Arien zu einem

regelrechten Ohrenschmaus werden.’

Online Musik Magazin


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