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Countess Nastri La Diavolessa NEW CHAMBER OPERA 
Rebecca Afonwy-Jones is a splendidly haughty Countess as she suffers Falco’s ‘doss house’ or inn, and then Poppone’s slurs, skilfully projecting this attitude in the well sustained melismas of her Act I aria and the Handelian bravado of her rage aria in the succeeding act.

Curtis Rogers Seen and Heard International June 2021

Prince Orlofsky Die Fledermaus WEST GREEN HOUSE OPERA

Rebecca Afonwy-Jones was pretty much ideal as Orlofsky, firm and spicy of tone and not excessively dissipated.

Yehuda Shapiro THE STAGE  July 2019 and OPERA October 2019

 Flora Bervoix La Traviata WELSH NATIONAL OPERA

Flora’s indigo-blue frock gleams as richly as Rebecca Afonwy-Jones’ mezzo-soprano and as brightly as her smile.

Claire Seymour OPERA TODAY November 2018

Artist in Residence: PRESTEIGNE FESTIVAL 

The main work of the previous evening, Judith Weir’s The Consolations of Scholarship (with a text derived from two Chinese Yüan dramas) had provided much more challenging listening. For the remarkably accomplished Berkeley Ensemble and mezzo-soprano Rebecca Afonwy-Jones it was a tour de force, brilliantly executed by the nine instrumentalists under Vass’s undemonstratively precise direction, and sung/spoken/declaimed (it contains a lot of Sprechstimme) by Afonwy-Jones with remarkable clarity and vocal richness.

David Hart BIRMINGHAM POST August 2017

[…]  …in the afternoon song-recital given by mezzo Rebecca Afonwy-Jones who, along with Rachel Roberts (viola) and Timothy End (piano) gave outstanding performances of works by Nielsen, Falla (Siete canciones populares españolas), Brahms (his Opus 91) and Edward Gregson’s superbly written Five Songs of Innocence and Experience – receiving the premiere of its revised version. Afonwy-Jones combined lustrous tone, generous phrasing and a natural ease of communication that demands attention and also further study of Gregson’s music.


David Truslove CLASSICAL SOURCE, August 2017

The thread was picked up by Judith Weir’s music drama, The Consolations of Scholarship (1985), written in the style of a Chinese Yuan drama from the 13th and 14th centuries. As a musical idea it comes at you out of left field but it commanded the  second half, thanks to the authoritative, gloriously sonorous voice of young mezzo Rebecca Afonwy-Jones and the Berkeley’s responsive ensemble. If anything the instrumental writing is more potent than the vocal line but when Afonwy-Jones was given words to sing rather than speak she sliced laser-like through the scoring, and her voice soared.

Emma Lilley HEREFORD TIMES August 2017

Mascagni: CAVALLERIA RUSTICANA Welsh National Opera

David Kempster [is] solid as Alfio, though for all-round excellence one must turn to Rebecca Afonwy-Jones’s butter-wouldn’t-melt Lola and Anne-Marie Owens’s fraught Mamma Lucia.

George Hall, THE STAGE May 2016

Rebecca Afonwy-Jones dealt with Olga’s tricky tessitura with great assurance and skilfully managed to make dramatic sense of her ballroom conversion to über-coquette.

OPERA MAGAZINE September 2015

Rebecca Afonwy-Jones, who had earlier demonstrated the rich power of her mezzo range on Richard Strauss, was here full of wide-eyed eroticism in these explorations of love as a novelty full of unexpected delights. (Chansons de Bilitis)


Marie Claire Breen warmed up into a feisty, flexible-voiced Vixen, matched by mezzo Rebecca Afonwy-Jones as her romantic interest, Fox.

THE GUARDIAN  January 2011

Rebecca Afonwy-Jones‘ Carmen was both dark and manipulative, with enough seductive fruitiness in her voice to sustain complete plausibility.

THE SCOTSMAN September 2010

A Carmen must be utterly seductive and all-powerful, and emerging artist Rebecca Afonwy-Jones is certainly up to the task. Eyes flashing and hips swinging, she effortlessly pulls the puppet-strings of all the men on stage. As for what she can do with her voice, let’s say that if she isn’t a big star in the opera firmament soon there should be a steward’s enquiry.

THE SKINNY September 2010

Poised and warm voiced.  OPERA NOW

It’s tricky, too, for young students to master an easy stage presence for the opera’s many oldsters, though Rebecca Afonwy-Jones proved outstanding in Russian diction and characterisation as the redoubtable Madame Akhrossimova, at her wits’ end with her would-be-absconding charge Natasha. Here the perfect balance between the two singers showed the communication of Prokofiev’s truthful one-to-ones at its edge-of-seat best.


My favourite piece of the evening was a delightful miniature for mezzo and harp, aptly entitled Butterflies, with a inventive fluttery melody, that proved instantly captivating. Rebecca Afonwy-Jones displayed lovely clear words and injected a hint of fragility into her voice

Maconchy Festival MUSICAL POINTERS October 2007