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press & reviews

"The undisputed star of this evening, which ended with a standing ovation, is the mezzo-soprano Anna Alàs i Jové (...) the full sensuality of her register is always combined with melancholy at vertiginous speed."   Juan Carlos Tellechea - Mundo Clásico

"Anna Alàs i Jové sings Angelina with interesting mezzo timbre and crystal clear coloratura."   Stefan Schmöe - Online Musik Magazine

"With her velvety mezzo timbre and her agility in the coloratura..."   Pedro Obiera - Aachener Zeitung

"Anna Alàs i Jové's beautiful timbre as the Marquise of Berkenfield and very comic in her interventions"   María José Cano - Diario Vasco

"Anna Alàs i Jové as the desperate Marquise de Berkenfield and truly good in her brief but important singing interventions."   Ana García Urcola - Revista Scherzo

"We liked the androgynous voice of the mezzo Anna Alàs in her role as the Marquise."  Nino Dentici

"The Catalan Anna Alàs i Jové deserves more than one paragraph, who provided her Friedensbote with measured, beautiful, good school singing throughout the evening".  Eduardo J. Benarroch - Ópera Actual 

"...singing very well Anna Alàs i Jové as Friedensbote."  Dr Klaus Billand - Online Merker

"The real protagonist is "Vebi", Anna Alàs i Jové portrays this role with her beautifully timbred, controlled, powerful mezzo not only vocally intensely, but also with convincing acting that reflects the profound change of her character in the course of the plot."   Petra und Helmut Huber - Online Merker

"In the main role, Anna Alàs i Jove is convincing both as an actor and with her vocal charisma."    Fred Dorfer - Kronen Zeitung

"Anna Alàs i Jové shines in the pants role with her expressive mezzo-soprano voice. Vocally and actoral, she masters this difficult and complex role of the young and inexperienced priest with ease and great versatility."   Carola Baumann-Moritz - Passauer Neue Presse

"With marble-glistening mezzo voice Alàs i Jové sings the youg vice-bishop."    Stefan Ender - Der Standard 

"Alàs i Jové as a brilliant Vebi in all situations."  Michael Wruss - Oberösterreiche Nachrichten

"First and foremost, Anna Alàs i Jové shines in the trouser role of Vebi with fine mezzo voice."   Helmut Christian Mayer - Kurier

"Anna Alàs i Jové's alto voice lends the aria 'Es ist vollbracht' warmth and the necessary dignity".   Helmut Atteneder  -  Oberösterreiche Nachrichten

"Anna Alàs i Jové as a brilliant Cherubino, both vocally and in her enjoyable play and acrobatic body control"
Petra und Helmut Huber - Online Merker


"Anna Alàs i Jové was convincing in her arias and thrilled as the tomboyishly blunt Cherubino, at the mercy of his libido."   Michael Wruss  - Oberösterreiche Nachrichten

"Romeo is sung by Anna Alàs i Jové with great vocal warmth and dazzling expression. A big, often almost manly mezzo voice with a wonderful timbre."   Friedeon Rosén  -  Online Merker

"Catalan mezzo Anna Alàs i Jové has the necessary acting presence and impressive vocal competence for the once Agnes Baltsa's brilliant role and strikes the balance between devoted love and resoluted social-political commitment. A strong performance, with attack and intensity."   Walter Gürtelschmied - Die Presse

"Mezzo Anna Alàs i Jové makes Romeo whirl across the stage, outstanding acting from an action ready fighter to a devoted lover. Her voice gives goosebump - there is no other way to describe this never sharp spectrum from crystal-clear, powerful sound at the lowest edge of the vocal range to radiant high notes, with the most intense emotional colouring."  Petra und Helmut Huber - Online Merker

"Anna Alàs i Jové's quality as a singer was once again confirmed by a textbook Romeo in the "I Capuleti e i Montecchi" new production at the Landestheater Linz. From the opening cavatina ("Se Romeo t'uccise un figlio"), Alàs displays a persuasive lyrical atmosfear that contrasts with the corresponding energetic cabaletta ("La tremenda ultrice spada"). The singer comfortably arrives at shimmering high notes and delivers powerful basses, rich in harmonics. Her skills as a singer-actress must also be added, with a restrained melancholy in the second act and a masterly change of pathos from "Ella è morta, o sciagurato" onwards. The great singer that is Alàs emerges, showing her knowledge in romantic belcanto, in the sinuous phrases of "Deh!, tu bell'anima", with calculated pathetic accents in the cantabile line. Brava!"   Jaume Radigales - Ópera Actual

"Anna Alàs i Jové unravels with incredible subtlety the very diverse intricacies of the music and oscillates fascinatingly between "masculine" drama and amorous lyricism."  Michael Wruss - OÖNachrichten 

"Anna Alas i Jové is an expressive Romeo with distinctive facial resources and playfulness. The mezzo-soprano knows how to guide her voice through the score, demanding and courageously miming the hero and soulfully beguiling the beloved. Her voice can accentuate the nuances and also fulfil the requirement of the ornaments of bel canto."  Helmut Pitsch - Opera Online

"This performance scores first and foremost with the protagonists Anna Alàs i Jové (as Romeo) and Ilona Revolskaya (as Giulietta) - the two young and completely fresh power women don't need to hide behind such "old" competitors as Baltsa/Gruberová, Kasarova/Mei, Garanča/Netrebko. It is not only a pleasure to hear but also to see them with your headphones and in front of the TV!"  André Sokolowski - Kultura Extra

"Anna Alàs i Jové as Romeo makes wonderful use of her versatile mezzo-soprano voice".   Oberösterreichisches Volksblatt

​"Alàs i Jové was expressive, funny, threatening, mischievous, tragic… One rarely founds a singer that seems to be so comfortable and so confident on a stage, and this is as remarkable as her dense and sumptuous instrument, her elegant legato and her wide tessitura."  Meritxell Tena - Núvol

"Anna Alàs i Jové is the vocal discovery of the evening. (...) one enjoys every second of this mezzo-soprano."    Rebecca Broermann - O-Ton Magazine

"The secret star of this first half of "Le nozze" was Anna Alàs i Jové with her dark timbred mezzo voice. The precocious page purrs, he sighs, as if by the sight of a woman his pants fell off. She sings “Voi che sapete” as a sweet seduction and is absolutely confident in the melody and clear in the articulation."  Edda Breski - Westfälischer Anzeiger

"The audience's favorite in the first part was Anna Alàs i Jové (Cherubino) who performed with an elegance and vocal roundness that would make any Conte jealous. Furthermore, her role was enriched with the most effective gestures and expressions."   Harald Sauerland - Westfälische Nachrichten

"But the one who stole the show was the mezzo Anna Alàs i Jové, a tremendous stage animal. From Plaerdemavida joyful mischief to the hidden evil of the false timorous, the singer moved from one to another with lightning speed just by rolling up the sleeves of a grey dress, concentrating in silence and emerging with another face, another voice.​"  Roberto Herrscher - Periodista Narrativo

"Anna Alàs i Jové's two contradictory and tremendously symbolic roles, the most applauded, are a theatrical challenge that the singer faces with an admirable display and interpretative maturity. She doesn't stay behind in the vocal aspect, with warmth, expressiveness, a wide register and a rotund wisdom to fulfill the difficult work that the duo Rosich-Magrané entrusts her with."   Diego Civilotti - Platea Magazine

​"Irresistible the mezzo Anna Alàs i Jové as the Viuda Reposada/Plaerdemavida, who signs a superb performance with a chameleonic voice colour, meticulous phrasing and expressive theatricality".   Jordi Maddaleno - La Vanguardia

"Anna Alàs i Jové, who played Plaerdemavida and La Viuda Reposada, left us speechless with a powerful timbre and a strong and totally unforgettable presence."   Mar Medinyà  -  Núvol

​"Anna Alàs i Jové​'s performance in her two contrasting characters, the strict ​Viuda Reposada and the hedonistic Plaerdemavida, is excellent due to ​her​ vocal capacity and dramatic variety."   Pablo Melendez-Haddad  -  El Periódico

"The work of the soloists was exemplary, standing out for their vocal presence and the successful composition of their two characters, the mezzo-soprano Anna Alàs i Jové."   Marcel Cervelló  -  Ópera Actual


"Equally convincing is Anna Alàs i Jové as an alto. Thanks to her darkly luminous voice with warm resonance, great flexibility and excellent diction, she not only gives the aria "Erbarme dich" special depth. With her lyrical-noble mezzo-soprano she succeeds in powerfully and glowingly pointing out the mistakes, the pain and the finiteness of human beings."   Ingrid Freiberg - IOCO Kultur Magazine

"Anna Alàs i Jové's alto voice sounds more operatically opulent in contrast. But she also performs her arias tastefully and convinces with a dark tint of her voice, especially in the aria 'Erbarmen dich'."  Michael Demel - Der Opernfreund

"The Catalan mezzo-soprano Anna Alàs i Jové provided touching moments with her warm deep voice."    Meinolf Bunsmann - HR2 Kultur Radio

"...Anna Alàs i Jové's brightly timbred alto with emphatic performance and glowing vocalization."    Regine Müller - Die deutsche Bühne

"But who conquered the stage was the mezzo Anna Alàs i Jové, who played a double role with an extraordinary dramatic and acting ability, singing with the gaze. When she was the Viuda Reposada her voice darkened and as Plaerdemavida the color was brighter and clearer. Really, a double role very difficult to play."  Bachtrack

"Anna Alàs i Jové did a great dramatic and vocal work during an almost constant presence on stage."  Ópera Actual

"...Vidua Reposada and Plaerdemavida (...) are performed by the mezzo Anna Alàs i Jové eminently expressive and a fascinating wonderful tragedian."  Anaclase

"With this performance Alàs i Jové left no doubt that she is one of the most complete Catalan mezzo-sopranos in vocal faculties and scenic resources, expressiveness and perfectly intelligible diction."  El Nacional

"Peralada welcomes the absolute premiere of Joan Magrané's work with an immense and split Anna Alàs. i Jové. The roles of Plaerdemavida and Viuda Reposada are two opposites. One luminous and the other dark. They are ying and yang. Magrané has written them for the same singer. The mezzo-soprano Anna Alàs Jové, who has previously worked with the composer, interpreted them brilliantly, demonstrating her great intelligence. She did so with a commendable vocal and theatrical ability to change in a matter of seconds from one role to another, from the mischief of a sensual Plaerdemavida to a deceptive and envious Vidua Reposada."  Política & Prosa

"Anna Alàs i Jové was a Plaerdemavida/Viuda Reposada with masterful visual, vocal and expressive metamorphoses and matched up to the great actresses-singers that have populated and populate the operatic geography around the world."  ARA Cultura

"Alàs i Jové, with powerful and persuasive gestuality, played two roles simultaneously (Viuda Reposada/Plaerdemavida), nuancing her voice according to one or the other."  El Periódico

"Masterful split between Plaerdemavida and Viuda Reposada, both incarnated by an impressive Anna Alàs i Jové"  Diario ABC


"The extraordinary mezzo Anna Alàs i Jové unfolded her interpretative spell in the double role of Viuda Reposada and Plaerdemavida, achieving a truly commendable recreation."  Doce Notas

"A stellar performance by the mezzo Anna Alàs i Jové, who plays two complementary characters such as Plaerdemavida and Viuda Reposada"   Revista Musical Catalana

"The mezzo Anna Alàs i Jové was frankly superb transmitting an Annio of great emotional variety and scenic mobility."   El Comercio

"...very well solved Anna Alàs i Jové's Annio both in the vocal and the theatrical aspect."  Ópera Actual

"Annio was performed by a suitable Anna Alàs i Jové, very graceful on stage and with a dark and beautiful voice"   Scherzo

"The Drei Damen stand out from the rest of the cast, raising the level of the piece in their performances through good coordination and a singing which combined tenderness with suggestion."  Juan Jose Freijo - Bachtrack

"The mezzo-soprano Anna Alàs i Jové exhibited a pleasant lyrical timbre and a malleable and varied singing"    Beckmesser

"The mezzo-soprano Anna Alàs i Jové and the soprano María Espada made us vibrate with their lyricism, their imprecations and their laments."   Scherzo 

"The mezzo-soprano Anna Alàs i Jové is in a wonderful vocal moment. The register is homogeneous, fleshy and ductile and contains the phrasing of the one who worked hard as a songwriter. Their Catalan diction is also natural and far from the traditional mannerism of some of the oldest Catalan singers. Her serenity on stage and her great musicologist contribution make her a leading voice in the national repertoire."  Revista Musical Catalana

"Anna Alàs i Jové realized 'baroque gestures' with a coloured, individual and expressive intensity, her exceptionally beautiful mezzo-soprano voice made the audience sit up, mastered brilliantly the difficult role."   Der Neue Merker

"Storgè, Jephtha's wife, is expressed stunning and full of compassion by the singer Anna Alàs i Jové in an incredibly intense aria."   HR2-Kultur

"Anna Alàs i Jové's bronze-toned and well conducted mezzo-soprano voice makes a good impression in the role of Jephthas' wife Storgè."   Der Opernfreund

"Anna Alàs i Jové gives an expressive format to the maternal outrage which Jephtha's wife Storgè increases from her pedestal."   Echo Online

​"Another angel in human form is Anna Alàs i Jové, whose warm-toned, sweet contralto conveys comfort and confidence."​    Potsdamer Neueste Nachrichten

"In addition to Falk, the Catalan Anna Alàs i Jové shines with smoky Alto as Queen and Angel"    Tagesspiegel

"Anna Alàs Jové was in charge of opening the vocal part, which led with a quietly dynamic, a full sound and a flexible phrasing that generated a sound deep in emotion with which he trapped us and made us fly above the orchestra."   Miquel Gené - Revista Musical Catalana

"Anna Alàs i Jové brought great cycles from her Catalan home, and just the sound of her voice is pure poetry. It seems that Alexander Fleischer senses, sees, feels each note that he plays. We owe him the goose bumps after a dramatic and impassioned cavalcade through the night or an ecstatic 'Amor' that left us listeners melting."  Rhein-Neckar-Zeitung


"Anna Alàs i Jové thrilled the audience in the second soirée at the Liedfestes Hirschberg. One can fully devote himself to her voice, which with an astonishing range sounds clear and sure at the highest pitch
and masters all emotional colors, sometimes strict and sharp or dramatic, sometimes creamy and seductive. She stands on the stage with a relaxed smile, accompanied closely with intuition by Alexander Fleischer."  Weinheimer Nachrichten


"The singer provides Toldrà's Iberian colour and ardor with great authenticity and around it develops a lot of sensuality with her flexible voice, rich in colours. In Mompou the duo created an unreal mood with the intimate and delicate streams of colours gorgeously shaded by the singer and with suspended pianistic sounds, dreamlike. Like a ruby, the mezzo allowed her voice to shine and sparkle, wonderfully capturing Blancafort's melancholic atmospheres. The mezzo-soprano shimmered Montsalvatge with glowing ornaments, seductive nuances. On the piano Alexander Fleischer accompanied wide awake and with seismographic fineness, with the best sense fomented the feelings and passions that were sang."  Rainer Koehl -  Rhein-Neckar-Zeitung's Feuilleton

"The fineness, the expressiveness, the retreat came when the mezzosoprano Anna Alàs began to sing 'In a fiorito prato' with exquisite taste and a warm voice."  Nino Dentici - El Correo


"In the spotlight, as Proserpina and La Messaggiera, Anna Alàs i Jové (...)"  Cosme Marina - ABC

"The "Lamento d'Arianna" from the homonymous opera, interpreted magnificently by the mezzo Anna Alàs."

Nino Dentici - El Correo

"It is to be highlighted the mezzo Anna Alàs, that with her beautiful voice imparted even more power and control to her singing line."  Jose Miguel Balzola - Opera Actual


"Anna Alàs i Jové, great as always but especially in the Lamento d'Arianna, raised even more the level of the show."   Asier Vallejo Ugarte - Scherzo

"First, Anna Alàs must be highlighted, since to her lyrical qualities and timbre of singular beauty we can doubtlessly add her dramatic virtues. Very outspoken in her important scenic role, her stage presence played in favour of an inspired night, impeccable in the 'Lamento d'Arianna' and the duet 'Pur ti miro'". Diego Civilotti - Platea Magazine

"...Anna Alàs, with mellow and creamy voice, slightly iridescent, with a stage presence and personality that very few own."  Joan Magrané -

"The mezzo-soprano Anna Alàs stood out as always by her velvety voice and an interpretation that emerged straight from the guts, especially in the moving 'Lamento d’Arianna'." Marta Porter - Diari Ara

"The 'Lamento d'Arianna' played by a great Anna Alàs was memorable, always in tune with the book of style." Cesar López - El Periódico

"Victor Sordo and Anna Alàs proved their full command of the 'stile rappresentativo' on pages such as "Il combattimento di Tancredi e Clorinda', the first, and the emotional "Lamento d'Arianna", masterfully recreated by the catalan mezzo"  Ovidi de Cardona - DoceNotas

“One would be hard pressed to imagine a more sympathetic interpreter of Blancafort’s songs than the impressive Catalan mezzosoprano Anna Alas i Jové, whose keen artistry brings delicate nuance and subtle shadings to the Catalan texts. She applies her vibrato judiciously, singing with flawless intonation and musical intelligence.”  Krishan Oberoi  - American Record Guide

"Evocative Anna Alàs i Jové in the maid and the sea song"  Xavier Cester - Ara Cultura

"Anna Alàs i Jové, in the role of Dido, was flawless in luminous timbre, style, phrasing and measured theatrical action; all was said with her voice from the lovely aria 'Ah, Belinda, I am pressed with sorrow' to the last -'When I am laid'- sung with such intensity and emotion that leaves a mark on the audience."  Teobaldos - Diario de Noticias de Navarra

"Speaking of singing, the level was very high, especially in Anna Alàs i Jové's interventions, a mezzo-soprano who performed such a carnal and spiritual loving Dido, in a heartfelt and intense final lament."  Enrique Bert - Platea Magazine 


"Anna Alàs Jové made a very good performance as Dido, showing a wide and penetrating voice (...)" Xabier Armendáriz - Diario de Navarra


"Anna Alàs has a voice with an homogeneous and robust timbre, projecting strongly and compact, without shrillness, with velvety colours of much beauty."   Mònica Pagès - Catalunya Música


"A very interesting voice, rich in harmonics, with a touch of velvet and a remarkable facility for the high notes, which added to her special acting grace and the clear diction in the several languages she approached made her a voice to consider in the next years."   Marc Busquets - Revista Musical Catalana

"The mezzo-soprano Anna Alàs projected her voice with security, firmly, but with enough interpretative subtility so her singing revealed a constant fluidity."    Lluís Trullén - Revista Musical Catalana

"(...) This was also made possible by the artistic intelligence of Elena's performer Anna Alàs Jové. In the course of the evening she revealed the full colour palette of her Mezzo voice in the contrasting characters of the three main arias and the extense recitatives. Diction and energy were profoundly developed from the medium range with a considerable Belcanto potential." Musik Heute - Roland H. Dippel

"Spanish mezzo-soprano Anna Alàs and Jové offered the title role with clear diction and a beautiful dark timbre, who excelled particularly in the more emotional passages." Harmonie - Petr Veber

"(...) in a short but powerful role, the mezzo-soprano Anna Alàs, just spectacular." Joan Mascaró - Diari de Menorca

"(...) Anna Alàs i Jové, who as war goddess Bellona wearing a chest tank, a cape of black flags and a tank on the helmet offered a resolute dark alto sound."  Bernd Hoppe - Operalounge

"(...) the mezzo-soprano Anna Alàs surprised everyone with her almost contralto range full of nuances." Marta Porter - La Vanguardia

"The main protagonist of the opera is Anna Alàs i Jové: her overwhelming acting -especially in comedy- as Belinda stood at the same level as her vocal ability and proved herself as a real expert of the scenic demands of contemporary repertoire."   Mila Rodriguez - Revista Musical Catalana


"...the mezzo-soprano Anna Alàs, a voice that responds positively to the risks, darker when necessary and more luminous in the tenderest moments."  Aina Vega - Núvol


"...two magnificent singers of proved versatility such as the soprano María Hinojosa as poignant Dido and the mezzo Anna Alàs Jové as Belinda and amusingly chameleon Europe"  Xavier Cester - Ara Cultura


 "...excellent work with the voices of mezzo-soprano Anna Alàs i Jové, soprano María Hinojosa i the tenor Joan Ribalta"  Jorge De Persia - La Vanguardia

"Anna Alàs i Jové's voice is above all a bright and highly interesting female timbre specially in the midrange, gifted with safe high notes too. She is also a great actress."   Opernfreund

"Anna Alàs i Jové, the vocal stunning-phenomenal main singer of the performance of last night (...)"    Kultura Extra Online Magazin 

"The young Catalan mezzosoprano Anna Alàs i Jové sang the pants role of Simplicius with enchanting innocent youthfulness, besides brilliant spoken, even in just declaimed passages."  Peter P. Pachl - Neue Musik Zeitung

"Anna Alàs i Jové, who convinced in the title role with charming acting and a charachteristical, in all registers powerful voice."  Tages Spiegel

"(...) with strong expression and much Charm Anna Alàs i Jové performed the two very contrasting works. Her technical skills as well as her knowledge of historically informed performance practice was proved especially in the Da Capo arias, whose repeating part she sensitive ornamented. A special cherry on top was in the last cantata, where violinist (Anaïs Chen) and singer were first heard together and played jointly wonderfully."   General Anzeiger Bonn


"(...) the mezzo-soprano Anna Alàs, solid, with a balanced and homogenous register, and a very rich timbre." Revista Musical Catalana

"(Anna Alàs i Jové) showed this beautiful and ideal mezzo-soprano voice that she owns and above it she built a discourse of great transparency and naturalness." Jaume Comellas - Revista Musical Catalana


" should be underlined the beauty that revealed a very good placed voice, never forced, with a very good articulation and language skills, with a very warm timbre (...)" Jorge de Persia - La Vanguardia


"Secure  and with a great command of the scene, soon showed the technical foundation that she holds in the Vivaldi cantata "Cessate, omai cessate". Her clean and flexible vocal line, reinforced by a careful phrasing, soon came to the light. (...) Supported by a luminous expressiveness she transmitted in this piece, alternating recitatives and arias, the climate of pastoral loves and hates, topped with a hectic and ornamental aria away from the previous laments. Händel's "Un'alma innamorata" allowed her to show a remarkable comic facet, especially in the second aria. "I enjoy, laugh and hope / and love more than one heart," the text says. Wonderful also the first aria in dialogue with the concertino, but where she could display her virtuosity was in Zelenka's "I Phoebe, umbras pelle". in this excerpt from a work by the Czech author she showed the beauty and coordination of her vocal agilities so she was so acclaimed that she had to offer an encore with the same aria. The singer, who we will soon see at Liceu with "La forza del destino", proved to be much more than an emerging value. She stole the show in a concert where Musica Florea took an excellent counterpoint. " El Periódico de Catalunya


"Anna Alàs i Jové plays The Cat with extraordinary easiness, acts communicative in close contact with the fascinated children and sings the music with light flexible voice."


"Anna Alàs i Jové gives to Diana an erotical ambivalent character, sings with impressive expression and absolutely safe phrasing art."


"The young mezzo-soprano from Terrassa developes the most of its activities in the Germanic area (...), and doesn't lack qualities to carry out a good career: a warm and flexible voice, a scrupulous musicality and a shining stage presence." El Punt/Avui (Barcelona)


"Anna Alàs i Jové gave her strongly expressive Mezzo voice to godess Diana." Tiroler Tageszeitung


"Also a good Soloist Quartett, with the Mezzo-soprano Anna Alàs, with attractive Timbre, that contrasts brightness and deepness, very musical." La Vanguardia (Barcelona)


"Anna Alàs i Jové does so wonderful the leading part in César Cui's fairy tale opera "Puss in boots"(...), that you ask yourself with how many cats did she grow up in her catalan home. Equally smooth as her movements is her mezzo-soprano voice."  Der Tagesspiel (Berlin)


"The second prize was for the pianist Alexander Fleischer and the mezzo-soprano Anna Alàs i Jové, a singer that is self-assured with herself and her timbre, virtuose understands how to play with the voice colours and has an authentic genius for the scenic, showed above all in the Schumann's Ballade "Der Handschuh". Alexander Fleischer deserves the praise for the high-hearted elegance of his playing."   Stuttgarter Zeitung


"Above all Alàs/Fleischer captivated with their atmospherical dense, colourfully stylished and very mature performances." Stuttgarter Nachrichten


"Alàs i Jové, who sang Cavalli and Monteverdi, is a mature, full temperament performer"  Tiroler Tageszeitung


"(…) one of the concert crowns was Anna Alàs' mezzosoprano voice, meaty, dense, with clear softness and inviting low range in the aria from Bach's Cantata 170 "Vergnügte Ruh, beliebte Seelenlust". A spotless phrasing, a tempo that overruled measure, a heartfelt expressivity, an extroverted communication, explained one of the most beautiful Bach's arias till she made it moving to the public. Yet the voice from the young Anna Alàs suggests soul's felicity and celestial harmony as the cantata implies, moreover her performance had the proper drama, the transmitting calmness, the textual balance between gratitude and plea."   David Guindano - Diario de Navarra


"Vocal specially stood out the young mezzosoprano Anna Alàs i Jové, who as the coquet Rosina soon got along as the public's favourite."  Lippische Landes-Zeitung


"In the girlish and also defiant role of Rosina shone Anna Alàs i Jové with her pure and clear tones which she enriched with the elegance of her movements and the variety of her facial expressions."  Lippe Aktuell


"The weightless brilliant mezzosoprano (voice of) the young Anna Alàs i Jové and the ebullient final scenes arise the première of Rossini's "Der Barbier von Sevilla" as a delightful event. 

"Anna Alàs i Jové's Rosina, a freshly newcomer from the Nurnberg Operstudio, has no fear of Rossini's coloratures, wonderful light and precise accentuated, who also as actress a cute-coquet Rosina gave." Neue Westfälische Zeitung


"Anna Alàs i Jové was Rosina, a very young singer (...) who showed herself as a formidable Belcanto discovery. The voice is a totally round mezzo-soprano with a very good low range and secure high notes; the coloraturas, springs and frisks sparkled clear and delightful from her gorge." Capriccio Kultur Forum

"Anna Alàs i Jové was the coveted rich pupil Rosina, smooth and elegant in the sensational coloratura, with a coquet and self confident expression."  Der Merken


"Dvorak songs found a natural expressive vehicle in Anna Alàs' round and well timbred voice, for they touched the perfection as regards to naturalness and emotion conjugated in a balanced relation."  Jeunesses Musicales


"Anna Alàs i Jové cut a good figure as Tebaldo."  Der neue Merker

"Anna Alàs i Jové as Clarissa is a beautiful vocal, magnificent perverse Gangster's fiancée."  Badisches Tagesblatt

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