Artist in Residence: PRESTEIGNE FESTIVAL 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
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)
THE HERALD May 2011
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.
THE ARTS DESK 2010
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