"Jessica Aszodi gave a hugely impressive, engrossingly focussed and vividly precise reading of Gerard Grisey's Four Songs for Crossing the Threshold...The work contained profound explorations of darkness and stillness alongside flareups of light and energy from Aszodi ... Aszodi cut through the shadows with fierce brilliance to rage against the dying of the light" 2016, Sydney Morning Herald 


"As the hapless soprano tasked with putting over the often fiendishly set texts, Jessica Aszodi was superb, singing with clarity, meaning and pinpoint accuracy" 2016, Limelight (Grisey's Four Songs for Crossing the Threshold, Sydney Symphony)


"Jacinte, played by Jessica Aszodi, carried the story line along boldly with her precise comic timing, warm stage presence and soaring soprano" Sydney Morning Herald, 2015 (L'Amant Jaloux, Sydney)


"Jessica Aszodi displayed a sure sense of line and an appealing range of tone colors" The Australian, 2015 (L'Amant Jaloux, Sydney)


“…the part of the maid Jacinthe, sung by Jessica Aszodi and played with great élan and invention, carried this vein of comedy…” Australian Stage, 2015 (L'Amant Jaloux, Sydney)


“running about while running the household and just about the entire opera with acute bubbliness as the maid Jacinte, soprano Jessica Aszodi impresses across a vocal range as hearty as it is lucent” – Opera Chaser, 2015 (L'Amant Jaloux, Sydney)


“Jessica Aszodi as the maid Jacinte had a wonderfully even sound and flexible delivery through her entire range.” Bachtrack, 2015 (L'Amant Jaloux, Sydney)


"... a luminous Imogen. Her demeanour and pure, warm soprano glowed..." Classic Melbourne, 2015 (Fly Away Peter, Melbourne)


 "purity and clarity, with delicate emotional nuance" The Age, 2015 (Fly Away Peter, Melbourne)


"Jessica Aszodi, as Jennifer, is magnetic, and copes effortlessly with the wide tessitura. This is a brilliant performance – very funny too... " The Australian Book Review, 2014 (The Riders, Melbourne)


"...soprano Jessica Aszodi brings refined technique to her performance as the missing wife Jennifer – making her almost sympathetic into the bargain." Sydney Morning Herald 2014 (The Riders, Melbourne)

"Aszodi’s fine soprano gives a soaring quality to Jennifer’s ethereal presence..." Herald Sun 2014 (The Riders, Melbourne)


" the most vivid vocal performances were in supporting roles: Jessica Aszodi and Katherine Maysek as the witches" Alastair Macaulay, New York Times, 2013 (Dido and Aeneas, Tanglewood)


Soprano Aszodi brought fiery, operatic zeal to her arias, her opulent, brightly colored soprano voice commanding favorable attention in every register.” Ken Herman,, November 2013


"Highlights that deserve mention include the virtuosic whimsy demonstrated by Jessica Aszodi, a mezzo-soprano (sic), in Cage’s Aria” Steve Smith, New York Times, 2012

"Le Marteau... was dispatched with utmost security and power by Australian soprano Jessica Aszodi and the ensemble. Not a single section disappointed" Alan G. Artner, Chicago Tribune, 2012


"Jessica Aszodi’s portrayal of Rose was nothing short of extraordinary... Aszodi specialises in adventurous music and this role suits her down to the ground; her vocal range, musicality and theatrical daring furnished Rose and the performance as a whole with an electrifying energy." Artshub, 2012


“Then there’s soprano Jessica Aszodi, who as soon as she began intoning the work’s opening phrases, had your full attention. She has a voice that can take you places...” Jim Chute, San Diego Herald Tribune, 2011 


“…Aszodi is splendidly passionate. She is one of the finest actress-singers in the country” – John Slavin, The Age, 2010


“…as her son Sesto, Jessica Aszodi confirmed her presence as one of our most compelling emerging artists.” Peter Burch, The Australian, 2010


 The program was intelligently chosen …The singing was adventurous, inspired, daring … there was no doubting the technical beauties that lay within - in particular, Aszodi's version of Weill's Youkali and the Britten songs… The performers, in variations on slinky black could have been straight from a Brassai silver-nitrate print” – Michael Shmith, The Age, 2010


 “Jessica Aszodi was vocally beautiful and dramatically controlled as Popova, the attractive, grieving widow…” – Peter Burch, The Australian, 2010


Melbourne-based soprano Jessica Aszodi further enhanced her reputation as a fine interpreter of contemporary vocal repertoire with an intensely varied performance at the Melbourne Recital Centre… Dallapiccola’s Quattro Liriche di Antonio Machado allowed Aszodi to display the mastery of character she has developed in her operatic experience; An impressive performance that was one of the evening’s highlights.” Mark Viggiani, Resonate Magazine, 2009


Brilliant, assured and consistently thrilling is Aszodi’s dreamy shepherd. Her rendition of L’amero saro costante is of such exquisite beauty it is worth the price of the ticket alone” – Clive O Connell, The Age, 2008


“Aszodi has a rich voice of surprising dynamic and tonal range with wonderful power and expressive flexibility, combined with nascent imagination for colour and dramatic presentation… a tour de force.” -Peter McCallum, Sydney Morning Herald, 2008


Soprano Jessica Aszodi gave a startling display of technique with some improbably high tessitura singing and rode impressively above a surging instrumental ferment” Clive O Connell, The Age, 2006


 “The highlight of my [Melbourne] festival… was performed by 19 year old soprano Jessica Aszodi. If this festival has a spirit, Aszodi is it. Her voice is rich, her legato effortless and her interpretive skills bare comparison to her role model the late Cathy Berberian. It was clear from her performance that she took pleasure in her great gift” – John Slavin, The Age, 2005