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'Netia Jones is the most imaginative director of opera working in Britain today'
The Observer 'Hot 100' 2009
'the video artist and director Netia Jones's staging of György Kurtág's Kafka Fragments is a small miracle of perfection'
Times, Kafka Fragments
'...when your director is a video artist as resourceful and inventive as Netia Jones...you get a very heady brew. Jones believes that although this work has no 'story' it does have a structure, and she has realised this with compelling force...'
Independent, Kafka Fragments
'...this is a fine achievement, mesmerising and unnerving in equal measure.'
Guardian, Kafka Fragments
'The evening's big innovation, though, was a performance of Les illuminations...with specially commissioned visuals by
video artist Netia Jones.'
The Scotsman, Illuminations
'Enter the virtuoso director/designer Netia Jones with a wonderfully elegant solution: live casts who interact with back-projections of Sendak's drawings which Jones animates in real time.'
Independent, Where The Wild Things Are/Higglety Pigglety Pop!
'Netia Jones's production of Where the Wild Things Are and Higglety Pigglety Pop! is as much a triumph of animated film, video projection and split-second co-ordination as of conventional theatre. Jones has pioneered real-time animation, sitting at a computer desk and aligning her images, note by note, with the live performers.'
Times,Where The Wild Things Are/Higglety Pigglety Pop!
'a stupendous staging of his Sendak-inspired operatic double bill...It would be easy to devote all the available space to praising Netia Jones' ingenious direction and video designs, in association with Lightmap.'
Observer, Where The Wild Things Are/Higglety Pigglety Pop!
'Jones has understood this perfectly...she has utterly faithful to his visual world, while animating it in a perfectly judged,
gently witty way.'
Guardian, Where The Wild Things Are/Higglety Pigglety Pop!
'This is where the director, Netia Jones, has delivered her masterstroke. Taking the original illustrations, she has turned them into animated projections - easy perhaps to imagine, but not to bring off as triumphantly as she has.'
Financial Times, Where The Wild Things Are/Higglety Pigglety Pop!
'Jones's freewheeling imagination is in tune with the music itself.'
Telegraph, Where The Wild Things Are/Higglety Pigglety Pop!
' ... everything was done with such delicate tact. The best moments came when the performers found a real emotional heat, when a sense of real desperation pushed through the beautifully evocative surface.'
Telegraph, Before Life and After
'What had possessed what? Was this an arts event totally infused with the spirit of a place, or a place transfigured by the power of art?...Such all-encompassing artworks make what normally goes on in concert halls, theatres and galleries look tame and prehistoric'
Times, Everlasting Light
' conceived by the designer and film-maker Netia Jones, it was a conjunction of film and performance artfully placed in a landscape...The strange haunted atmosphere of that far-off age came together in the most magical way'
Telegraph, Everlasting Light
'almost the whole of music history, from the Elizabethans to the present day, is grist to the mill of Transition, the multimedia performance group directed by video artist Netia Jones...so many different musical cultures are brought together in Ligeti's extraordinary pieces, they seem tailor made for Jones's presentations'
Guardian, Ligeti Etudes
' the overarching theme of adolescent angst is thrillingly apt'
Telegraph, O Miei Giorni
Evening Standard, La Voix Humaine
' innovative, first-rate concerts...Netia Jones' video subtly enhanced the content'
Guardian, Transition series
'not to be missed'
Evening Standard, Transition series
' can be summed up in three words; brilliant, brilliant and brilliant'
Guardian, The Way To The Sea
'a touching evocation of a bygone era's innocence, and it's unruly yearnings'
Telegraph, The Way To The Sea
'bringing integrity and intelligence to the task of bringing video into classical music'
Times, Transition series
' the intelligence and beauty of Netia Jones' video...dazzling'
Guardian, Transition series
Music OMH, Transition series
Independent, Ttansition series
'...the profound musicality of Jones herself...She strikes me as the video equivalent of dancer and choreographer Mark Morris, a passionate communicator whose grasp of the inner workings of music can lead to layers of resonance rather than bland depiction. The interaction between live and minutely pre-prepared film was seamlessly designed...'
BBC Music Magazine, Mikrokosmos
'wonderfully atmospheric...video images of the children interacting with the various animals and birds of the stories...an elegant, and indeed state-of-the-art, frame for Stravinsky's miniature mythical worlds.'
Music Web International
'a total delight'
' lively...startling...beautifully sung, and with moments of haunting poignancy...'
Times, Venus & Adonis
' sharply conceived technology...remarkable depth and invention...joyous...and delightful...'
MusicOMH, Venus & Adonis
' wonderful...disquietingly effective'
Guardian, Venus & Adonis
'Transition, well known for their innovative and thoroughly modern approach... original, contemporary and captivating throughout... a wonderfully entertaining and original experience'
'The most complete act of imagination...music made visible, now indelibly stamped on my memory'
BBC Music Magazine
'Pick of The Year'
Independent 2008, Acis & Galatea
' simply breathtaking'
Independent, Acis & Galatea
' bold and lively, contemporary and profoundly moving...ingeniously enhanced by video projections'
Guardian, Acis & Galatea
'Innovation is all for audience capturing, and Wilton's Music Hall was gratifyingly packed'
Musicwebinternational, In Darkness Let Me Dwell
'Pick Of 2007' Guardian , Pierrot Lunaire
'Netia Jones' video is witty and perceptive'
Guardian, Pick Of The Year
energetic...bold...experimental and witty'
Guardian, Pierrot Lunaire
' startlingly original...bright, imaginative...fresh and fascinating'
Observer, Il Trionfo del Tempo e del Disinganno
'this striking production crackled with cheeky irreverence'
Times, Il Trionfo del Tempo e del Disinganno
' a happy synergy of ear-opening singing and innovative video art. Go and see it.'
Stage, Il Trionfo del Tempo e del Disinganno
' In Netia Jones characteristically bold staging baroque music theatre met MTV, stylised images were projected onto a screen behind the characters, dancers presented a fluid cross between kick-boxing and break dancing'
'Netia Jones' production is funny, neat and understated...could grace any festival in the world'
'Director/designer Netia Jones had contrived a pleasingly clean-lined, half-built white palace of a set, with an intriguing projection screen incorporated... a good time was had by all'
' a deeply stylish production by Netia Jones, and another triumph'
Telegraph, Fanferlizzy Sunnyfeet
' entirely original in content... an absolute treat...director Netia Jones's trippy, childlike staging is absolutely irresistible...' Independent, Fanferlizzy Sunnyfeet
'The pace, humour and energy carry everything along on waves of dream-like logic: bizarre, touching, hilarious, mad' Metro, Fanferlizzy Sunnyfeet
' Brilliantly directed, treading the line between innovation and gimmickry with virtuoso zeal'
Guardian, Barber of Seville
' Funny, stylish and well-sung...one of the best stagings of that opera in years, due to Netia Jones inspired direction'
Express, Barber of Seville
' The punchiest show I've ever seen here; aggressive, stark, emphatic and strong'
Independent on Sunday, Mazeppa
' The most exciting of these productions within living memory'
'This performance was a winner...the spot-on production was directed and designed by Netia Jones...a remarkable achievement...it's exhilarating and economic'
Opera, Hansel & Gretel
' triumphant...Netia Jones has devised stage action that is brilliantly true to childhood life...as fresh and imaginative as it is disturbing. The director/designer Netia Jones is to be congratulated on turning the opera into a psychodrama...'
Express, Hansel & Gretel
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