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Georgia Jarman

Georgia Jarman sitting backwards in a chair with her head resting on her crossed arms


Vocal dexterity aligned with a strong theatrical instinct and excellent musicianship have been key to Georgia Jarman’s numerous successes, in roles spanning lyric and bel canto repertoire alongside a growing reputation in 20th century works as well as new commissions.

Of those which hold special significance are the landmark compositions of George Benjamin – Written on Skin and Lessons in Love and Violence – which Jarman has debuted at Venice Biennale Musica – under the composer’s baton – Staatsoper Hamburg, Gran Teatre del Liceu, Opera National de Lyon and at the Beijing Music Festival with the Mahler Chamber Orchestra under Lawrence Renes. She returns to the role of Isabel (Lessons in Love and Violence) in the current season joining again the Mahler Chamber Orchestra under the baton of Benjamin himself on a European tour.

Her breakthrough performance and debut at the Royal Opera House, Covent Garden, came as Roxana in Kasper Holten’s spectacular production of Krol Roger – seen in cinemas and subsequently released on DVD – and further debuts include Musetta (La bohème) for Opernhaus Zurich; Helena (A Midsummer Night’s Dream) for Opera Philadelphia, Lucia (Lucia di Lammermoor) for Opéra National de Bordeaux, Gilda (Rigoletto) for her Santa Fe Festival debut, all four heroines in Richard Jones’ production of The Tales of Hoffmann for English National Opera, Maria Stuarda for Washington Concert Opera and Manon at Malmö Opera.

Exploring neglected bel canto repertoire, she has made numerous critically acclaimed appearance at the former Caramoor Summer Music Festival with the Orchestra of St. Luke’s including, most recently, Zenobia in Rossini’s rarely performed Aureliano in Palmira, alongside Norina (Don Pasquale) and Amina (La sonnambula).

Jarman made her sparkling BBC Proms debut in 2019 singing Szymanowski’s Love Songs of Hafiz alongside BBC Scottish Orchestra conducted by Ilan Volkov, and last season sang her debut performances of Britten’s War Requiem as part of the season opening celebrations to inaugurate the city’s new Grosse Tonhalle under Kent Nagano and with the Tonhalle Orchestra. On the US concert stages last season she performed Berg’s Sieben Frühe Lieder with the Oregon Symphony under David Danzmayr, joined Cincinnati Symphony for Mozart Mass in C minor conducted by Louis Langrée, at home with the Atlanta Symphony under Dimitry Sinkovsky presented a programme of Handel duets and Mozart; and she gave her first performances as Solveig in Bill Barclay’s semi-staging of Peer Gynt with Milwaukee Symphony under the baton of Ken-David Masur. This season brings performances of Handel’s Messiah with Charlotte Symphony Orchestra under Christopher Warren-Green.

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