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'Netia Jones is the most imaginative director of opera working in Britain today'
The Observer

'meticulous and fearless...it could not be done better'
Observer, Dark Mirror

'an enthralling tribute to Schubert's genius'
Telegraph, Dark Mirror

'elegant, inventive...Jones stokes rather than smothers our imagination.'
Financial Times, Dark Mirror

'every detail is precisely observed...it's disturbing and truthful'
Observer, Zauberflote

'visually enchanting and intellectually thought-provoking'
Opera Today, Zauberflote

'a Flute for our times'
Times, Zauberflote

'a directorial approach that hits exactly the right balance between
lightness and seriousness... the result is nigh-on flawless'
Stage, Midsummer Night's Dream

'with artless simplicity, cast spells'
Guardian, Midsummer Night's Dream

'mesmerising'
Opera Today, Midsummer Night's Dream

'hypnotically beautiful'
Bachtrack, Midsummer Night's Dream

'directed with pitch perfect precision by Netia Jones'
New York Times, Stirrings Still

'capturing Beckett's vision of humanity so powerfully yet minimalistically'
Independent, Stirrings Still

'a magical and beautiful performance of Messiah'
Bergen's Tidende, Messiah

'Jones' concretization of the action makes sense to the abstract'
Aftenposten, Messiah

'Netia Jones' characteristically brilliant meld of projected graphics and live action...a show of all the talents'
Independent, Alice In Wonderland

'the meticulous creativity of British director-designer Netia Jones...the creative ingenuity and invention
make the journey a vivid and entertaining one'
The Arts Desk, Alice In Wonderland

'pleasurably disconcerting'
New York Times, Alice In Wonderland

"Netia Jones' fresh, deftly witty staging served the story to perfection'
Classical Music, Alice In Wonderland

'exhilarating'
LA Times, Alice In Wonderland

'an extraordinary fusion of sound and vision'
Independent, Atthis

'a gorgeous play of music and emotion'
The Arts Desk, Atthis

'Jones' production resonates perfectly with the score'
Bachtrack, Atthis

'a strong and overwhelming performance'
Bergen's Tidende, Erwartung

'fundamentally it is memorable and powerful due to Jones' sympathy to the score and the concept.
She sees inside the pure core of the piece, and has brought out something marvellous'
New York Classical Review, Curlew River

'Jones performed her own miracles, designing the scenery, costumes and projections as well as
the overall direction of the piece...a performance quite unlike any other in recent memory'
Broadway World, Curlew River

'faultless'
Telegraph, Curlew River

'an involving, direct, unforgettable performance'
Guardian, Curlew River

'a revival of this production cannot come too soon'
Observer, Curlew River

'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!

'T
his 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

'riveting theatre'
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

' ravishing'
Music OMH, Transition series

' dazzling'
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'
Telegraph

' 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'
Musicalcriticism.com

'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'
Guardian, Alfred

'Netia Jones' production is funny, neat and understated...could grace any festival in the world'
Times, Partenope

'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'
Independent, Partenope

' 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'
Times, Mazeppa

'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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