Even during the arias, the strong understandability of the text of Kurt Honolka’s relatively modern translation was a focus point.

Music worth hearing is coming from the orchestra pit, too. Schumann’s opus was also played with great nuance and balance of sound; [the orchestra] accompanied the Piano Duo sensitively. What would La boheme be without the right musical foundations in the orchestra pit? Satisfaction for a performance which seemed to have been appreciated was clearly demonstrated, with a unanimous ovation for the. She has since returned to conduct Die Zauberflöte and in the 2018/19 Season conducts Carmen. In Bluebeard’s Castle, the quintessence of the drama is expressed by the orchestra: the British conductor Julia Jones conducts with a sense of orchestral colour that is almost impressionistic, reminding us of everything that links Bartok to Debussy; directing the Orchestre National Bordeaux-Aquitaine, she magnificently highlights their flexibility and clarity. Jones delicately traces many of the details [in the score]. 1 & Piano Concerto No. Especially celebrated for her interpretations of Italian music, Julia Jones is working her way into the Champions League of the European music scene. At the helm of the tonally pleasing orchestra conductor Julia Jones uses many emphases to create a well-defined musical accompaniment, building to a powerful finale. British conductor Julia Jones has established an international career in the concert hall and in the opera house. However, it quickly becomes obvious that this is somebody who subtly makes the Bremer Philharmoniker realise what’s on the sheet music. Thus [she] brought out the first movement’s truly refreshing character.

The Sinfonieorchester Wuppertal … shines with nuanced and well-balanced sounds. The Andante [was] gorgeous. As brisk as the swish of a panniered skirt, the conductor Julia Jones’s finely detailed reading of the overture sets a smart pace for this philosophical pantomime of opposites and pairs.

The British conductor Julia Jones holds Idomeneo very close to her heart, and she endowed the music with a dramatic thread which can be difficult to achieve in this somewhat fragmented work. This approach was carried by conductor Julia Jones, who put herself and the Volksoper orchestra fully at the service of the drama. Sinfonieorchester Wuppertal (February 2015).


Under Julia Jones‘ attentive and steady direction, the Sinfonieorchester Wuppertal played energetically. With the precision of a drill sergeant, Julia Jones (at the helm of the Orchestre symphonique de Mulhouse) brings the legacy of Rossini, e.g. She also worked at the National Opera Studio, and pursued conducting with instruction from Moshe Atzmón, Miklós Erdélyi, Ferenc Nagy, and Erwin Acel. Just as successful as the staging is the musical side of things.

Her lively tempi in the overture set the tone for a spirited rendering, and her gestures were magnanimous and graceful.
She appears to be completely in her element and gets the most of the excellent orchestra she has been entrusted with. In Julia Jones the Royal Opera has a real find of a Mozart conductor, a rare species. While the strings are kept plain, the woodwind flourish under her direction: bassoons, clarinets, oboes and, of course, the flute. The fine-grained and extremely energetic conducting technique, with which she motivated the instrumentalists, ensured musical pleasures in a class of their own. Jones's speeds are swift and energetic. The star turn of this Traviata was a woman, but not one of the singers.

Natascha Pflaumbaum, Deutschlandradio Kultur. Royal Opera House, Covent Garden (April 2013). Musically this production was also impressive. With well-planned climaxes and beguilingly beautiful sounds no part of the wonderful score remains unexploited. On the podium, Julia Jones succeeds in distinguishing the different moods with great energy whilst highlighting the musical contrasts without the tension ever slackening… rich colours and a great sense of theatricality are everywhere. José Mª. Throughout, [the musicians] could rely on Jones who breathed with them and steered them securely through the score with her attentive conducting.

From beginning to end, everything is right. This production has witnessed some exceptional Mozartians in the pit over its 15 years, and Jones's interpretation ranks among the best. Dates. Lightly and effortlessly they tell Shakespeare’s comedy, which Benjamin Britten and Peter Pears follow closely in their operatic adaption. Englishwoman Julia Jones was a good hand at directing the music. Julia Jones making a welcome return after her 2010 Così and following her highly successful WNO Traviata maintained a fine balance throughout the evening. However, Julia Jones vividly portrays the great emotional outbursts, too. Briton Julia Jones presented not only polished performances, but also showed that she has great feeling for the (seemingly impossible to tackle) challenges with which Bernstein's music bristles. In the pit, the Orchestre National Bordeaux Aquitaine is faultless under the urgent direction of Julia Jones: she gives the score a stunning dramatic force. It is no surprise that the audience responds with standing ovations. You have to ask, is there really nothing that lets this premiere of La boheme in Wuppertal down? These photos are available to be downloaded.Right click on a desired image and select the "Save Link As" option. Julia Jones (born 28 April 1961 in Droitwich Spa, Worcestershire ) is an English conductor. Julia Jones directs the orchestra with fine attention to mood and detail, drawing taut playing in an auspicious Royal Opera debut. Barely recognizable since it moved into the its new auditorium, the Orchestre National Bordeaux-Aquitaine flourishes in the longer phrases, playing with an almost Straussian opulence, while exalting with clarity a glittering soundworld, eruptive and brilliantly impressionistic.

In Mozart’s “Alte Lambacher – Sinfonie” in G major KV45a ..., Jones’ extraordinary aptitude for interpreting musical works in their full depth became apparent. an overall excellent and attentive performance, including some magical moments. ...brisk and fiery playing coming from the orchestra directed by Julia Jones. In concert, she has extended the orchestra's reach and repertoire, exploring new and unconventional venues alongside their appearances at Wuppertal's famous Historische Stadthalle.

Plus real, used signed pages from the Director’s and Actor’s scripts. The music is wonderfully performed by the orchestra under the Mozart expert Julia Jones who gives an interpretation of great lightness and clarity, helped by the virtuosic continuo playing of Felice Venanzoni on the fortepiano. Under the baton of Julia Jones, Orkest van het Oosten plays exciting, tightly controlled Mozart.

A versatile set, an ensemble singing and acting on the highest level, and an orchestra that makes all the intricacies of the score beautifully tangible: these are the ingredients for an evening of opera that simply does your heart good - all around. She drew an excellent performance from the orchestra, who had their sound under control at all times.

Mozart’s short symphony was given a distinct sound without frills. The first soft glissandi in the strings foreshadow the defining atmosphere of the evening’s work: a web of phrases, ... transparent, otherworldly and ethereal. In concert, she often devises programmes combining traditional core repertoire with lesser known and seldom performed pieces, and she has worked with ensembles including Orchestre Philharmonique de Strasbourg, Tonkünstler-Orchester Niederösterreich, Salzburg Mozarteum Orchestra and Dresden Staatskapelle. Julia Jones exploits the incredible timbres previously unheard from this opera which shimmers between the wonderful and the fantastic.

[Under Julia Jones] the precision and range of colour was remarkable, placing the Orchestre National de Bordeaux-Aquitaine definitively as a major ensemble in France. … Add to this finely balanced, nuanced sounds from the orchestra pit: The symphony orchestra under the thoughtful conducting of Julia Jones plays sensitively. Lars von der Gönna, Westdeutsche Allgemeine Zeitung. This and the accentuated, crisp rhythms made the work really shine.

[Julia Jones] conducts the piece magnificently. Julia Jones sets tempi that are determined, at least in allegros, by the maximum speed at which rapid wind figuration can be still be cleanly, audibly articulated, exactly the sort of thing Karl Böhm used to do in Mozart, and which immediately predicates a fairly steady overture because the bassoon solos otherwise become a smudged blur, but as a result emerged immaculately here. In many of the passages which are usually overplayed with emotional exuberance, you can suddenly hear the sounds of metropolitan Paris - Puccini was much more modern in 1896 than is generally assumed. The renowned conductor Julia Jones proved herself as masterful and elegant, and inspired all the instrumentalists to their best. That Puccini’s hit opera La boheme does not dissolve into pure melodrama is due to the stylish musical performance as well as the smart scenic concept of this new production.

She conducts the piece from memory and it makes a striking and festive opening. Jones drives the action with mercurial tempi, perfectly balancing the dynamics with the singers on stage. ... Julia Jones knows how to do Handel.

Even more satisfying was the sound that came from the orchestra pit. Sinfonieorchester Wuppertal (November 2017). The symphonic poem “Tintagel” by English composer Arnold Bax is also in good hands with Julia Jones; Bax wrote an overflowing, heaving piece with a lush soundworld, soulful sonority, and a great hymnic ending complete with concluding cymbal crash. Both General Music Director Julia Jones at the helm of Wuppertal Symphony Orchestra and the young, throughout excellent ensemble, as well as stage director Immo Karaman conceive the piece as what it is at its heart: an empathetic panorama of young people on the thorny way into adulthood. She brings out the colours of the prelude with such great passion and precision that the listener feels full of Christmas spirit and warm all over.