Jessica Aszodi is a literal shape-shifter. A writer, creator, educator and performer, her voice has been praised for its “utmost security and power” (Chicago Tribune) and described by The Age as “one of the finest actress-singers in the country.” Jess’ unusual range makes it possible to perform across genres and voice types, and to create bespoke techniques and concepts from project to project. She has built up a truly idiosyncratic set of embodied knowledges, from cycling while singing, to choreographically affected song, and a not small number of extremely extended vocal techniques. Her favourite thing is challenge.
Jess’ work crosses between opera, experimental music, improvisation, composition, music theatre, and scholarly research. She holds a Doctorate from the Queensland Conservatorium, and her writing focuses on the materiality and politics of embodiment practices in the creation of new performance. She has written articles for several books and journals.
She has performed as a soloist with opera houses and ensembles around the world including the London Sinfonietta, Wiener Volksoper, Nederlands Reisoper, Hamburg Staatsoper, Ensemble Musikfabrik, Melbourne, Sydney and Adelaide Symphony Orchestras, ICE, Pinchgut Opera, the Tirolean Symphony Orchestra, Victorian Opera, Sydney Chamber Opera, and the San Diego and Chicago Symphony Orchestras (chamber series). Her Festival appearances include the Melbourne, Sydney and Adelaide Festivals, Darmstadt, Aldeburgh, Tectonics, Tanglewood, Klangspuren, Beethoven Festwoche, Resonant Bodies, Vivid Sydney, Aspen and BIFEM (where she was a long-time part of the curatorial team). Twice nominated for Greenroom Award as ‘best female operatic performer’, she won 2019 performance of the year at the Australian Art Music Awards for Liza Lim’s “Atlas of the Sky”. A passionate exponent of new work she has performed important premieres by collaborators Augusta Read Thomas, Dai Fujkura, Anthony Pateras, Jessie Marino, Cathy Milliken, Jenna Lyle, and Laura Bowler.
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