MEZZO-SOPRANO

Strauss – DIE FLEDERMAUS – West Green House Opera

“The Prince’s ditty is sung with firmness and spice by Rebecca Afonwy-Jones”

Yehuda Shapiro, The Stage (July 2019)

“Peter Van Hulle is an excellent Eisenstein and Rebecca Afonwy-Jones a sumptuously voiced Prince Orlofsky”

Sam Smith, Music OMH (July 2019)

Wagner – DAS RHEINGOLD – Longborough Festival Opera

“Characters are delineated very well so that the Rhinemaidens (Mari Wyn Williams as Woglinde, Rebecca Afonwy-Jones as Wellgunde and Katie Stevenson as Flosshilde) convey a strong combination of elegance, allure, playfulness and cruelty.”

Sam Smith, Mucsic OMH (June 2019)

Joseph Phibbs – JULIANA – Nova Music Opera

“In a potentially bland role, the mezzo Rebecca Afonwy-Jones imbued Kerstin with a stoic dignity as well as a growing sense of helplessness that was ultimately very touching”.

Paul Conway, Opera Magazine (September 2018)

Glasgow Meets Berlin: A Gala Celebration – Glasgow Festival 2018

“Rebecca Afonwy-Jones delivered Gershwin’s immortal Summertime with seductive charm”

Ken Walton, The Scotsman (August 2018)

Artist in Residence – Presteigne Festival 2017

” …in the afternoon song-recital given by mezzo Rebecca Afonwy-Jones who, along with Rachel Roberts (viola) and Timothy End (piano) gave outstanding performances of works by Nielsen, Falla (Siete canciones populares españolas), Brahms (his Opus 91) and Edward Gregson’s superbly written Five Songs of Innocence and Experience – receiving the premiere of its revised version. Afonwy-Jones combined lustrous tone, generous phrasing and a natural ease of communication that demands attention and also further study of Gregson’s music.”

David Truslove, The Classical Source (August 2017)

Elgar – THE DREAM OF GERONTIUS – RTE National Symphony Orchestra

“There was a gentleness and mellowness to Rebecca Afonwy-Jones’ Angel from her entry in Part Two of the oratorio. Hers is a pleasing, sweet voice that sounded at its best when the orchestra was at a low volume. The dialogue with the Soul of Gerontius was sometimes gently consoling and later on, as her voice opened up, morally eloquent. There was a spine-tingling moment as Afonwy-Jones explained about the purifying flame of ‘Everlasting Love’. ”
Andrew Larkin, Bachtrack (May 2017)

CBSO Summer Classics – Symphony Hall, Birmingham

“Afonwy-Jones is simply quite superb in interpreting a song, as one might expect from a past finalist in the Welsh Singers Competition…During the lengthy orchestral introduction to the Chanson Bohème from Bizet’s Carmen, she stands aloof, even haughty, examining the audience. Her stage presence has such power that she remains the centre of attention throughout. Her singing is accurate, well-phrased and lively, even flirtatious. In her second piece, the Habanera also from Carmen, her interpretation is teasing and fiery. After the interval, her final piece is Gershwin’s Summertime, which she imbues with a decidedly sultry feel.”
Selwyn Knight, The Reviews Hub (July 2016)

Mascagni – CAVALLERIA RUSTICANA – Welsh National Opera

“David Kempster [is] solid as Alfio, though for all-round excellence one must turn to Rebecca Afonwy-Jones’s butter-wouldn’t-melt Lola and Anne-Marie Owens’s fraught Mamma Lucia.”
George Hall, The Stage (May 2016)