English Touring Opera, Manon Lescaut
Stafford has a lovely gleam to her voice, giving heart and muscle to her arias - The Times
It was Jenny Stafford as Manon who really commanded the stage, with impressive ringing top Cs
for declarations of undying passion, and interestingly subtle moments when you could feel a
dawning, regretful awareness of her own flightiness - The Daily Telegraph
Jenny Stafford sings gleamingly as Manon - The Guardian
Committed and musically scrupulous as Manon, Jenny Stafford gains in visceral impact as her
voice climbs the stave - The Stage
All credit, then, to the singers for wrenching so much poise and power from the thrift-shop
catastrophe of this production’s look...By the time of the great second-act duet, as Stafford’s
robust but never harsh soprano cut through swelling orchestration, we could hear not just the
ardour but the doubt and inner conflict that each of this pair brings to their passion...Still, both
the final duet and the outcast Manon’s searing soliloquy of farewell (to love’s delusions, and to
life itself) left us with a proper respect for Stafford’s and Morris’s whole-hearted immersion in
these roles. They gripped and moved, in spite of everything. Singing of such commitment proves
that opera can survive not just its detractors, but its directors too - The Arts Desk
Jenny Stafford was a light-toned Manon, sweet on the ear but more a lyric than a spinto soprano
- Bachtrack
A big hand, therefore, for Jenny Stafford's charismatic Manon - i news
Jenny Stafford, bright-voiced and appealing as the fickle heroine - The Guardian
Jenny Stafford, as Manon, sang tirelessly and expressively in a blue pudding-bowl wig – The
Spectator
The central couple are outstanding: Jenny Stafford’s soprano is impressive as is Gareth Dafydd’s
highly accomplished tenor. Their singing soars – The Sheffield Star
Manon is tenderly, lithely sung by Jenny Stafford, expressing an underlying vulnerability rather
than either overweening or naive ambition – Classical Source
The cast, led by Jenny Stafford as Manon and Gareth Dafydd Morris as Des Grieux, delivered
strong performances despite the limitations of the English translation. Stafford’s portrayal of the
titular character was nuanced and emotionally charged, her soprano voice navigating the complex
vocal lines with skill and passion – Fairy Powered Productions
I was particularly struck by soprano Jenny Stafford, who propelled the story with unwavering
vocal energy and a convincing performance as Manon – A Youngish Perspective
When we meet Manon, (sung stupendously by Jenny Stafford) she is a young woman about to be
sent against her will by her father to a convent – Cambridgeshire News
West Green House Opera, Pagliacci
Jenny Stafford’s vibrant Nedda - The Stage
Jenny Stafford was an engaging Nedda, giving a beautifully rendered account of her song to the
birds, yet the scene with Thomas Chenhall's strong Silvio showed us that she too could be
cavalier, prizing her own freedom above that of others. What Ramster's production showed was
that everyone was fallible. And the way Stafford made Nedda realise, during the final play with a
play, that Samm's Canio was no longer in character, was nicely realised - Planet Hugill
In Pagliacci there are fine performances from Jenny Stafford as Nedda, Ronald Samm as Canio,
Lawrence Thackeray as Beppe and Thomas Chenhall as Silvio - Music OMH
Welsh National Opera, The Magic Flute
Jenny Stafford’s Papagena is a brief role, but her voice remains a treat – Buzz
Davies was a rather depressed Papageno but with Jenny Stafford as his bucolic Papagena there
developed genuine and enthusiastic sexual chemistry – Gramophone
Quirijn de Lang’s beautifully balanced romantic coward Papageno, the Queen’s bird-catcher, was
constantly attended by a lovely array of expertly manipulated hand-puppet birds. As was Jenny
Stafford’s no-nonsense love-of-his-life, Papagena - The Fine Times Recorder
At a different remove was the partnership between Quirijn De Lang’s Papageno and Jenny
Stafford’s Papagena, both roles pleasantly sung - Opera Today
Jonathan Lemalu sang a sonorous Sarastro. With Raven McMillon as Pamina and Jenny Stafford
as Papagena singing with sincerity, Welsh National Opera’s Magic Flute was a delightful vocal
performance - The Article
Neal Davies does his best with the sometimes laboured comedy of birdcatcher Papageno – his
duet with Jenny Stafford’s Papagena is a charming delight, as it should be - Bum on a Seat
The singing, as always with WNO, is superb with Neal Davies revelling in the role of Papageno,
the night bird catcher, with a fine baritone and an equally fine sense of fun. He ends up on a
rescue mission with Tamino but in truth, all he really wants is to be loved, so it is just as well
Jenny Stafford is around as the always smiling day palace bird catcher Papagena to take him to
her heart - Behind the Arras
Buxton Festival, Viva la Diva!
Jenny Stafford achieves the razor-sharp florid singing of the standard prima donna (satirised as
the ‘coloratura that pulverises crystal / coloratura that can be heard in Bristol’) whilst
maintaining a forceful, indomitable demeanour as the German ‘L’assoluta’ brought in to play the
part. For them, as for Quentin Hayes’s Ray (the deputy stage manager who falls into that
position after a less than successful audition) it is no mean achievement, as professional musical
actors, to perform with deliberate imperfection or knowing detachment from their assumed
roles--Classical Source
English Touring Opera, Amadigi
Jenny Stafford brought out the humanity in Melissa, we were aware that this was a love-triangle
rather than simply a fearsome sorceress. Stafford brought out the complexities of the character,
she was focused on her love for Amadigi yet unafraid of using magic to this about, and Stafford
moved finely from the moving woman in love to the terrific fiery aria at the end of Act Two to
her profoundly simple death scene. Always engaging and stylish, this was a fine performance and
a subtle one--Planet Hugill
Jenny Stafford, engaging and impassioned, was Melissa in Saturday’s performance—The
Evening Standard
West Green House Opera, Eugene Onegin
There was much to enjoy from a mostly young cast with its blend of promise and experience. In
a powder-blue dress, Jenny Stafford’s Tatyana was a credible traversal of self-absorbed
bibliophile through to society beauty, dignity and duty amply realised. In between, came an
arresting dream sequence at the close of Act One where there was no doubting her arousal as
she imagined her first sexual encounter with Onegin. Hers is a clear and silvery soprano voice,
and in time she will discover more expressive power and tonal variety for the celebrated letter
aria. More compelling was the emotional charge she brought to the closing duet with Nicholas
Lester’s Onegin, now vocally unrestrained and glowing with suppressed ardour--Opera Today
As the bookish Tatyana, Jenny Stafford has the acting ability to put across with finesse the
transformation of the shy girl of Act One, secretly looking for a romantic adventure, into the
self-assured and graceful noblewoman of Act Three. Her lyrical soprano voice is a joy of fluid
refinement--markaspen.com
English Touring Opera, Cosi fan tutte
Jeremy Sams’ garrulous translation was particularly effective in Despina’s case, full of earthy
idioms that made her seem refreshingly down to earth. Jenny Stafford gave a sparkling and
youthful rendition of the character that was infused with a liveliness that made her so much
more than the stooge of Don Alfonso, and her surprise, regret, and even shame in the
denouement was a convincing instance of the work’s many melancholic touches. Her comic
avatars as the fez-wearing, chalk-voiced Notary and vibrator-wielding Professor Mesma – a
touch of the Marie Stopes there, surely – were deliciously droll - Opera Wire
But in particular, he and Despina - played by soprano Jenny Stafford - were a marvellous comedy
duo, really playing off of each other’s energies. Stafford’s Despina was easily my favourite part of
the show. Her diction was impeccably clear, her physical comedy well-timed, and her ability to
switch between the multiple characters the role requires was both impressive and laugh-out-loud
funny – Schmopera
Whenever Jenny Stafford’s Despina is on hand, the performance gets a lift - Financial Times
Comic support came in buckets from Jenny Stafford’s game Despina - The Arts Desk
As Despina, Jenny Stafford demonstrated the same comic timing and vocal grace that have
impressed several times at Bampton Classical Opera - Opera Today
Vocal performances rise to a good standard, with some high points along the way...especially
Jenny Stafford’s vital Despina - The Stage
Jenny Stafford and Frederick Long are both naturally ebullient comedians, cheerfully enjoying
the chance to overact as Despina and Guglielmo - The Telegraph
Stafford has a lovely gleam to her voice, giving heart and muscle to her arias - The Times
It was Jenny Stafford as Manon who really commanded the stage, with impressive ringing top Cs
for declarations of undying passion, and interestingly subtle moments when you could feel a
dawning, regretful awareness of her own flightiness - The Daily Telegraph
Jenny Stafford sings gleamingly as Manon - The Guardian
Committed and musically scrupulous as Manon, Jenny Stafford gains in visceral impact as her
voice climbs the stave - The Stage
All credit, then, to the singers for wrenching so much poise and power from the thrift-shop
catastrophe of this production’s look...By the time of the great second-act duet, as Stafford’s
robust but never harsh soprano cut through swelling orchestration, we could hear not just the
ardour but the doubt and inner conflict that each of this pair brings to their passion...Still, both
the final duet and the outcast Manon’s searing soliloquy of farewell (to love’s delusions, and to
life itself) left us with a proper respect for Stafford’s and Morris’s whole-hearted immersion in
these roles. They gripped and moved, in spite of everything. Singing of such commitment proves
that opera can survive not just its detractors, but its directors too - The Arts Desk
Jenny Stafford was a light-toned Manon, sweet on the ear but more a lyric than a spinto soprano
- Bachtrack
A big hand, therefore, for Jenny Stafford's charismatic Manon - i news
Jenny Stafford, bright-voiced and appealing as the fickle heroine - The Guardian
Jenny Stafford, as Manon, sang tirelessly and expressively in a blue pudding-bowl wig – The
Spectator
The central couple are outstanding: Jenny Stafford’s soprano is impressive as is Gareth Dafydd’s
highly accomplished tenor. Their singing soars – The Sheffield Star
Manon is tenderly, lithely sung by Jenny Stafford, expressing an underlying vulnerability rather
than either overweening or naive ambition – Classical Source
The cast, led by Jenny Stafford as Manon and Gareth Dafydd Morris as Des Grieux, delivered
strong performances despite the limitations of the English translation. Stafford’s portrayal of the
titular character was nuanced and emotionally charged, her soprano voice navigating the complex
vocal lines with skill and passion – Fairy Powered Productions
I was particularly struck by soprano Jenny Stafford, who propelled the story with unwavering
vocal energy and a convincing performance as Manon – A Youngish Perspective
When we meet Manon, (sung stupendously by Jenny Stafford) she is a young woman about to be
sent against her will by her father to a convent – Cambridgeshire News
West Green House Opera, Pagliacci
Jenny Stafford’s vibrant Nedda - The Stage
Jenny Stafford was an engaging Nedda, giving a beautifully rendered account of her song to the
birds, yet the scene with Thomas Chenhall's strong Silvio showed us that she too could be
cavalier, prizing her own freedom above that of others. What Ramster's production showed was
that everyone was fallible. And the way Stafford made Nedda realise, during the final play with a
play, that Samm's Canio was no longer in character, was nicely realised - Planet Hugill
In Pagliacci there are fine performances from Jenny Stafford as Nedda, Ronald Samm as Canio,
Lawrence Thackeray as Beppe and Thomas Chenhall as Silvio - Music OMH
Welsh National Opera, The Magic Flute
Jenny Stafford’s Papagena is a brief role, but her voice remains a treat – Buzz
Davies was a rather depressed Papageno but with Jenny Stafford as his bucolic Papagena there
developed genuine and enthusiastic sexual chemistry – Gramophone
Quirijn de Lang’s beautifully balanced romantic coward Papageno, the Queen’s bird-catcher, was
constantly attended by a lovely array of expertly manipulated hand-puppet birds. As was Jenny
Stafford’s no-nonsense love-of-his-life, Papagena - The Fine Times Recorder
At a different remove was the partnership between Quirijn De Lang’s Papageno and Jenny
Stafford’s Papagena, both roles pleasantly sung - Opera Today
Jonathan Lemalu sang a sonorous Sarastro. With Raven McMillon as Pamina and Jenny Stafford
as Papagena singing with sincerity, Welsh National Opera’s Magic Flute was a delightful vocal
performance - The Article
Neal Davies does his best with the sometimes laboured comedy of birdcatcher Papageno – his
duet with Jenny Stafford’s Papagena is a charming delight, as it should be - Bum on a Seat
The singing, as always with WNO, is superb with Neal Davies revelling in the role of Papageno,
the night bird catcher, with a fine baritone and an equally fine sense of fun. He ends up on a
rescue mission with Tamino but in truth, all he really wants is to be loved, so it is just as well
Jenny Stafford is around as the always smiling day palace bird catcher Papagena to take him to
her heart - Behind the Arras
Buxton Festival, Viva la Diva!
Jenny Stafford achieves the razor-sharp florid singing of the standard prima donna (satirised as
the ‘coloratura that pulverises crystal / coloratura that can be heard in Bristol’) whilst
maintaining a forceful, indomitable demeanour as the German ‘L’assoluta’ brought in to play the
part. For them, as for Quentin Hayes’s Ray (the deputy stage manager who falls into that
position after a less than successful audition) it is no mean achievement, as professional musical
actors, to perform with deliberate imperfection or knowing detachment from their assumed
roles--Classical Source
English Touring Opera, Amadigi
Jenny Stafford brought out the humanity in Melissa, we were aware that this was a love-triangle
rather than simply a fearsome sorceress. Stafford brought out the complexities of the character,
she was focused on her love for Amadigi yet unafraid of using magic to this about, and Stafford
moved finely from the moving woman in love to the terrific fiery aria at the end of Act Two to
her profoundly simple death scene. Always engaging and stylish, this was a fine performance and
a subtle one--Planet Hugill
Jenny Stafford, engaging and impassioned, was Melissa in Saturday’s performance—The
Evening Standard
West Green House Opera, Eugene Onegin
There was much to enjoy from a mostly young cast with its blend of promise and experience. In
a powder-blue dress, Jenny Stafford’s Tatyana was a credible traversal of self-absorbed
bibliophile through to society beauty, dignity and duty amply realised. In between, came an
arresting dream sequence at the close of Act One where there was no doubting her arousal as
she imagined her first sexual encounter with Onegin. Hers is a clear and silvery soprano voice,
and in time she will discover more expressive power and tonal variety for the celebrated letter
aria. More compelling was the emotional charge she brought to the closing duet with Nicholas
Lester’s Onegin, now vocally unrestrained and glowing with suppressed ardour--Opera Today
As the bookish Tatyana, Jenny Stafford has the acting ability to put across with finesse the
transformation of the shy girl of Act One, secretly looking for a romantic adventure, into the
self-assured and graceful noblewoman of Act Three. Her lyrical soprano voice is a joy of fluid
refinement--markaspen.com
English Touring Opera, Cosi fan tutte
Jeremy Sams’ garrulous translation was particularly effective in Despina’s case, full of earthy
idioms that made her seem refreshingly down to earth. Jenny Stafford gave a sparkling and
youthful rendition of the character that was infused with a liveliness that made her so much
more than the stooge of Don Alfonso, and her surprise, regret, and even shame in the
denouement was a convincing instance of the work’s many melancholic touches. Her comic
avatars as the fez-wearing, chalk-voiced Notary and vibrator-wielding Professor Mesma – a
touch of the Marie Stopes there, surely – were deliciously droll - Opera Wire
But in particular, he and Despina - played by soprano Jenny Stafford - were a marvellous comedy
duo, really playing off of each other’s energies. Stafford’s Despina was easily my favourite part of
the show. Her diction was impeccably clear, her physical comedy well-timed, and her ability to
switch between the multiple characters the role requires was both impressive and laugh-out-loud
funny – Schmopera
Whenever Jenny Stafford’s Despina is on hand, the performance gets a lift - Financial Times
Comic support came in buckets from Jenny Stafford’s game Despina - The Arts Desk
As Despina, Jenny Stafford demonstrated the same comic timing and vocal grace that have
impressed several times at Bampton Classical Opera - Opera Today
Vocal performances rise to a good standard, with some high points along the way...especially
Jenny Stafford’s vital Despina - The Stage
Jenny Stafford and Frederick Long are both naturally ebullient comedians, cheerfully enjoying
the chance to overact as Despina and Guglielmo - The Telegraph