© Karpati & Zarewicz
Soprano
Ania Jeruc
"The timbre of the voice is pearly, almost Gheorghiu like [...] But above all, she's incredibly moving..." - The Telegraph
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Upcoming Past
Nov 2024
24.
19:00
19:00
Daniela Musca, Conductor
Philipp M. Krenn, Stage Director
Jan 2025
17.
19:00
19:00
Ewa Strusińska, Conductor
David Pountney, Stage Director
Jan 2025
19.
19:00
19:00
Ewa Strusińska, Conductor
David Pountney, Stage Director
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Oct 2024
27.
19:00
19:00
Daniela Musca, Conductor
Philipp M. Krenn, Stage Director
Oct 2024
22.
19:00
19:00
Daniela Musca, Conductor
Philipp M. Krenn, Stage Director
Nov 2024
17.
19:00
19:00
Daniela Musca, Conductor
Philipp M. Krenn, Stage Director
SHOW MORE
Biography Highlights
Upcoming
Deutsche Oper am Rhein as Violetta La traviata, Komische Oper Berlin as Praskovya Osipovna The Nose as well as debut at the Malmö Opera, the Copenhagen Opera Festival in the title role of Giovanna D’Arco, return to the Polish National Opera as Hanna Haunted Manor.
Recent
Debut at Teatro Real Madrid in the title part of Halka, as well as Osipovna The Nose, return to Vlaamse Opera as Elvira Ernani, Teatro dell'Opera di Roma as Erste Dame Die Zauberflöte, return to the Heidenheim Festspiele in the title part of Alzira, and the title role of Giovanna D’Arco with St. Galler Festspiele.
Portraits
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
© Karpati&Zarewicz
Guillaume Tell
Mathilde' aria "Sombre forêt"
Guillaume Tell
Mathilde' aria "Sombre forêt"
Giovanna d'Arco
Giovanna d'Arco
Reviews & Press
Theater Freiburg - Verdi - Jerusalem - Hélène
Vom lyrischen Kern bis zur Dramatik ungemein facettenreich präsentierte sich Anna Jeruc. Eine Sopranistin, die bis zur letzten Faser alles gibt. Wie sich diese Hélène ins Zeug legt, wie sie leidet: Das berührt.
- Johannes Adam , Badische Zeitung
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Die polnische Sopranisten verfügt über einen echten Spinto-Sopran, lyrisch grundiert, mit fulminanter Durchschlagskraft in den dramatischen Passagen und den Massenszenen, sicherer Höhe, Agilität in den Koloraturen und ein wunderbar tragfähiges Piano, ein faszinierendes Singen in der mezza-voce Szene (Une pensée amère).
- Kaspar Sannemann , Oper Aktuell
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Anna Jerucs Hélène ist eine vokale Sensation: ein ganz eigenes, leuchtendes Soprantimbre, rund, ausgeglichen in allen Lagen, mit dramatischen Höhenraketen und einem kostbaren, substanziellen Piano, dazu trittfest auf dem Parcours der Koloraturen.
Opernwelt
Dorset Opera Festival - Verdi - La Traviata - Violetta
At the head of the first of two casts, the Polish soprano Anna Jeruc conveyed Violetta's isolation and composure admirably. Her voice, in the small theater, sounded big and colorful and you could hear all the coloratura...Sempre libera had an interesting bite and potential delirium, and she showed off her emotional range impressively in Act 2. There were no melodramatic exaggerations in the last act, which was the strongest for it.
Opera Magazine
Opera North - Verdi - La Traviata - Violetta
Polish diva Anna Jeruc takes over the role of Violetta from Hye-Youn Lee, and this strengthens the production in several ways. While Lee made a sweet, vulnerable heroine, she always seemed too young and fragile for opera’s prima demimondaine. Jeruc owns and understands the role; we believe she is a woman who, about to pay a cruel price for having devoted her life to pleasure, allows her final steps to take another, more profound, more noble path. She sings the doomed woman’s arias with passion and awareness, and her curtain call is rightly greeted with a resounding ‘Brava!’ from many quarters of the auditorium...Tonight's audience revels in the triumph of delight. Brava...
- Martin Thomasson
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Heidenheim Opera Festival - Verdi - I Lombardi
The other significant role was Pagano's niece Giselda, played with firm conviction by Ania Jeruc. This was confident and stylish performance, with a nice warm tone to the bel canto line, and an emotional commitment which carried the character forward.
Planet Hugill
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Verdi - I Lombardi - CD recording
Ania Jeruc is a fine Giselda, floating her ‘Salve Maria’ with superb poise, yet possessing enough heft and dramatic fire to make a real impression in her big Act 2 cabaletta, of which she is mercifully permitted to sing the repeat.
- Tim Ashley , Gramophone
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the great star of the performance is Polish soprano Ania Jeruc as Giselda. This is a big role with many opportunities to expose the talent of a good lirico-spinto – and she does so with knobs on. Her first solo, the beautiful Salve Maria in the first act (CD 1 tr. 12) is sung with great feeling and beauty of tone. There is some minimal unsteadiness but this is negligible considering how well she sings. And she grows throughout the performance. Just listen to O madre, dal cielo (CD 1 tr. 25) and even better in the final act Quel prodigio (CD 2 tr. 10). This is glorious singing that should appeal to any admirer of great singing!
