“Georgia Jarman has a colourful soprano full of warmth and elegance”

“American soprano Georgia Jarman displayed the same freely soaring lyricism and sumptuous richness [in Szymanowski’s ​“Love Songs of Hafiz”] that I admired in 2015 when she performed the role of Roxana in the ROH’s ​“Król Roger”. Her powerful soprano luxuriated in the orchestral luminosity, sinking in, sailing above.”

“The bel canto specialist Georgia Jarman made a wonderfully gawky but determined Helena, full-throated in her declarations of unrequited love.”

“With her light mid-range, she gave much-needed clarity and diction to Martin Crimp’s concise and poetic text, but also displayed stunning power in her higher register.”

“though as much as any opera can be, the success hinges on the diva at its center. And the Dallas Opera has one of the best I’ve ever seen. Jarman is a charismatic and lovely actress, and a singer of unusual power and vocal control. She navigates the emotional roller coaster of Violetta — bright and cheery, self-sacrificing, weak yet hopeful — with consummate skill. Each moment she’s onstage, you don’t want to take your eyes off her.”

“As Donna Anna Georgia Jarman is a beautiful blonde with slender beauty, the voice has the quality of baroque as well as bel canto, intelligent and clear.”

“On the second night, Georgia Jarman, who shares the female lead with Hannigan, sang Agnès. Jarman is equally deft in the dizzying coloratura, her voice a little richer, but her stage style is strikingly reserved, casting the action in a new light.”

“Similarly exciting was Georgia Jarman, whose glinting soprano and scorn in repulsing Aurelian’s advances made for a sensational Zenobia.”

“Best of all, as Roxana, Georgia Jarman shows how the queen’s Act II vocalise can be one of the most beautiful arias in all opera.”

“As Gilda, the soprano Georgia Jarman had a melting tone that benefited from hints of birdlike fragility.”

“Georgia Jarman’s Gilda matched Kelsey’s stylistic elegance note for note. Her transparent Cara nome had all the acuti in place, sure, but Jarman’s vocal purity and effortless legato, plus her authentic prolonged trill, thrilled. Those ethereal tones in the final scene seemed heaven-sent.”

“Soprano Georgia Jarman proves to be a splendid Gilda, acting the part with forthright simplicity and displaying the vocal heft, timbre and agility needed to meet its demands. One of the evening’s high points was her aria ​“Caro nome,” which started in loveliness and ended five minutes later in otherworldly beauty — her coloratura encompassing some clearly articulated, sustained trills, to boot… Jarman’s aria ​“Tutte le feste al tempio” was similarly affecting, and the duet with her father into which it escalates was one of the evening’s most touching highpoints.”

“The cast that surrounded him was vocally strong, with standout performances from the Gilda of New York soprano Georgia Jarman”

“Georgia Jarman delivered Roxana’s show-stealing coloratura with immaculate style”

“The singing — notably by Kwiecien, Jarman, and Pirgu – is superb”

“As his Queen, American soprano Georgia Jarman’s free, joyful outpourings floated lyrically around the auditorium, like a rapturous reverie. She employed a judicious vibrato and was able to embody both a sensuous and maternal personae, reminiscent of Janačék’s Emilia Marty/​Elina Makropoulos.”