Bachtrack, 12 July 2017

The Albanian soprano Ermonela Jaho captivated audiences with her perfect and coherent technique, skilfully throwing light on the drama and music embodied in Puccini’s score.  Capitalising on the virtues of her lyric soprano voice – as revealed in an impeccable “Un bel di, vedremo“ – and displaying the talents of a leading actress – the final moment of resolution in “Con onor murore“ dissolved into shattered sobriety just as Falconetti did in Joan of Arc.  Not only did Jaho sing, she lived through the long psychological warp of Madama Butterfly, Madama Pinkerton and finally Cio-Cio-San.                                             

El Pais, 8 July 2017

Even more than a lyrical or dramatic soprano, Ermonela Jaho is first and foremost Madama Butterfly.  She lives the journey from chrysalis to a butterfly in front of us, pierced by a pin as if we were not even there.

Opera World, 8 July 2017

If someone stood out last night, it was, without a doubt, the Albanian soprano Ermonela Jaho...  an interpreter who always strives for excellence. If I had the job of planning opera seasons, I would make sure she was in all of them because she possesses an absolutely essential virtue: the ability to portray the pathos of her characters in such a credible way that it never fails to provoke an emotional reaction from the audience.   And this is not something that everyone can do.  I still remember that La traviata that she sang here, in which she sang the role of Violetta...  her death rattle caused me a grief the like of which I have never felt before. It happened again yesterday: she depicted the evolution of her character, from the opening innocence, to disenchantment and complete despair at her abandonment, to her dramatic endingwhich was wonderfully staged...  She gives everything and this is priceless...  Her performances of ‘Un bel di vedremo’ and the heartbreaking ‘Tu tu piccolo iddio’ will remain in my memory forever.                                                               

Musica Clasicaba, 7 July 2017

...  it is as if Ermonela Jaho was born to sing this role...  her naivety on stage is phenomenal, as is her ability to captivate her audience with her small gracious gestures.  She is blessed with a voice of great beauty, expressivity, subtlety and flexibility which ignites Pinkerton’s ardor. 

El Mundo, 7 July 2017

The Albanian soprano surpassed all the role’s vocal demands and was the greatest triumph of her career so far.              

El Correa, 5 July 2017

It was not the set that enchanted Teatro Real’s audience, but the singing and acting skills of Ermonela Jaho...  Through her total embodiment of the character and the beauty of every part of her vocal performance, Ermonela Jaho painted a superbly exquisite portrait of Cio-Cio-San...  From the moment she came on stage and sang her first notes, she made the hair on the back of our necks stand on end with excitement.           

En Platea, 4 July 2017

The Albanian soprano Ermonela Jaho was the total embodiment of Madama Butterfly.  After singing the opera’s most famous aria ‘Un bel di vedremo‘, the absolute silence and reverence which had filled Teatro Real exploded into sudden applause in recognition of the beauty and mastery of her interpretation.  Even after the final standing ovations Ermonela continued to be Butterfly. It is hard to think of a greater interpretation than Ermonela Jaho's.                                                                                          

Periodista Digital, 3 July 2017

Ermonela Jaho’s performance at Teatro Real confirmed our prenouncement when we first heard her sing here: that she is following in Maria Callas‘ footsteps...The Albanian soprano Ermonela Jaho gave a dramatic and vocal performance at the highest level, in one of the most demanding roles in the repertoire.                                                                       

Diario YA.es, 30 June 2017

Soprano Ermonela Jaho is an exquisitely lyrical and poetic Madama Butterfly                                                   

El Norte de Castilla, 29 June 2017

Ermonela Jaho’s performance was marvellous, with both voice and body in total dramatic harmony: progressing from the wedding scene and Donzo’s curse, to the short-lived feeling of happiness and ultimately the loneliness, waiting and final tragedy.                                                                   

La Razon, 29 June 2017

This time it was for Ermonela Jaho – who audiences in Madrid applauded a few seasons ago in La traviata and at the beginning of this season, in Otello – she is a magnificent artist, and superb singer-actress.                                                                                       

El Mundo, 28 June 2017

Ermonela Jaho is a superlative Butterfly; her full voice revealing the wide spectrum of emotions, feelings and opinions that her character – to whom the entire work is dedicated - experiences during the course of the performance: this certainly justifies her reputation as one of the greatest interpreters of this devilish role.

Ermonela Jaho is unmissable... it is Ermonela Jaho in the title role that makes it so special. Combining sound, sense and physical gesture in a heartbreaking, at times harrowing, portrait of a soul in crisis, she gives, quite simply, one of the finest operatic performances of recent years... The Guardian - Suor Angelica - ROH - London 2016

To see an artist grow and develop into a role is one of the most rewarding aspects of this job, and whilst Ermonela Jaho was impressive last time round, here she was simply sensational. The voice is far more under control, and the sound she now produces is beautiful from top to bottom. Her diminutive figure combined with her searingly intense interpretation of the role makes for one of the most emotionally shattering performances to grace this stage in years – it was nothing short of a triumph. She rightly deserved her thunderous ovation at the final curtain. With a great supporting cast including Ann Larson as the implacable Princess, this was an hour of music theatre that will linger long in the memory.... - Suor Angelica - ROH - London 2016

Opera Zazà review – a knockout concert performance - Barbican, London
Ermonela Jaho was brilliant in the title role, part of a staging that redeemed Leoncavallo’s under-appreciated opera about a singer in a French music hall. Ermonela Jaho, eyes brimming with tears, registering every psychological shift with an extraordinary blaze of sound, was breathtaking in the title role. Frequently giving the impression of living rather than singing the music, Jaho established herself as one of the great verismo interpreters.

"Traviata": Crescendo im Verlöschen
In der Staatsoper wächst Ermonela Jaho Akt für Akt zur großen Violetta-Darstellerin: Im Sterben entfesselt sie alle dramatischen Energien.
Es war, was man paradoxerweise ein Crescendo im Verlöschen bezeichnen müsste: eine „Traviata“-Aufführung, die alles andere als spektakulär begann, sich aber zu ungeahnter Intensität steigerte. Dass Ermonela Jaho zuletzt Ovationen erntete, war nach der phänomenalen Studie, die sie mit „Addio del passato“ lieferte, vorherzusehen: Man hätte eine Stecknadel fallen hören können, so gespannt lauschte – und schaute – das Auditorium. - Violetta - Wienner Staatsoper - 2014 - Vienna

"La Traviata" - "La salle de l’Opéra Bastille qui se lève d’un même élan dès qu’Ermonela Jaho apparaît devant le rideau à la fin de la représentation, voilà ce qu’on appelle une rentrée en fanfare ! Le rôle-titre est donc tenu par Ermonela Jaho, au soprano plus nourri et sombre que celui de Diana Damrau qui interprétait Violetta en juin. L'étoffe est soyeuse, voire mordorée et les aigus répondent présents, avec un contre mi bémol couronnant la cabalette « Sempre libera ». La technique est souveraine avec notamment de beaux trilles, mais ce sont les mezza voce et autres notes filées impalpables qui marquent particulièrement et donnent le frisson. Mais que sont ces broutilles face à l’évidence de l’incarnation ? La soprane albanaise vit sa courtisane avec une intensité bouleversante, se livre sans réserve, terminant visiblement épuisée aux saluts. Parvenir à donner la chair de poule à l'Opéra Bastille, voilà une gageure !" - Violetta - Opera de Bastille - 2014 - Paris

"La Traviata - "Der unumstrittene Star des Abends war Ermonela Jaho. Sie singt nicht Violetta, sie spielt sie nicht, sie ist Violetta. Mit allen Fasern ihres Wesens, alle Feinheiten ihrer reichen stimmlichen Fähigkeiten ausschöpfend, durchlebt sie für uns die leidenschaftliche Liebe, den herzzerreißenden Schmerz ihres Verzichts auf Alfredo, und den verzweifelten Todeskampf. Vielleicht ist der Höhepunkt ihr langes Duett mit Germont im zweiten Akt und vor allem darin das fast verklärte Dite alla giovine sì bella si pura – sagt der Jungfrau, so schön und rein,worin trotz aller Verzweiflung eine tiefe Menschlichkeit herrscht, die den Verzicht zuläßt. Als Ermonela Jaho nach Ende der Oper, ganz allein, vor dem Vorhang erscheint und vor Erschöpfung fast in die Knie geht, wird sie von tosendem Applaus empfangen." Violetta - Opera de Bastille - 2014 - Paris

"La Traviata": Violetta s’illumine dans son trépasQuant à la performance vocale, celle d’Ermonela Jaho est éblouissante. Elle se révèle dans des couleurs chaque fois plus expressives au fil des actes. Dans les mezzi, les trilles sont techniquement impressionnantes, et lorsque Violetta pose sa voix dans les aigus avec des nuances pianissimi, elle nous déchire le coeur. La soprano a une véritable carrure de tragédienne.....

Le final, autour du baldaquin est prenant: la voix de Violetta, s’affaiblit progressivement en un râle ( très précis et virtuose techniquement) qui illustre à merveille la phtisie qui l’emporte loin d’Alfredo. Une prouesse, musicale et émotionnelle, qui nous laisse ce constat évident : Ermonela Jaho est ici la réincarnation d’une héroïne antique d’Euripide! -Violetta - Opera de Bastille - 2014 - Paris

"La Boheme - ...she will have to be at her best to match the dramatic power of Ermonela Jaho in the role. Jaho brings the same intensity to Mimi as she did to Puccini's Suor Angelica in 2011. She may lack the last ounce of lyric weight in some of Mimi's lower-lying music, but the softness and spirituality of her singing in the upper register has you hanging on every phrase. You will have to live a long life to encounter a Mimi who inhabits the role more convincingly and intelligently." Mimi - Royal Opera House - 2014 - London

"Royal Opera’s Manon: A Seductive Performance.... Ermonela Jaho is radiant as the impetuous Manon....  her vibrant Manon, who progresses from a quixotic, flirtatious schoolgirl on her first trip away from home, to a true femme fatale, who betrays her love for lust of glamour and luxury and a life of hedonistic decadence.... In the Second Act, she sings “Adieu, notre petit table“, with such remorse and sadness for her betrayal of her true love, des Grieux. Her aria in the Third Act, “Obeissons quand leur voix appelle“, was particularly powerful, and she exerts complete control over her admirers — the gentlemen at the Cours-la-Reine, as much as the audience." - Manon - Royal Opera House - 2014 - London

"Laurent Pelly’s 2010 production, now in its first revival, appropriately sets the opera in the Belle Epoque, and the curtain rises on a daintily stylized evocation of the French capital peopled by top-hatted gents and opulently-bustled ladies. And from among these Ermonela Jaho’s Manon – en route to the convent where she is being sent - emerges like a spring flower. Massenet gets straight to the point with his heroine, giving her a hugely demanding aria to express her dizzy delight at the world she finds herself in: a challenge to which this young Albanian soprano rises with winning grace."... "The one weakness lies at the core of the work itself. As a mere good-time girl, Manon can’t move us as Violetta does in La Traviata, nor even as Carmen does: she’s a cardboard character, not driven by tragic necessity. As a dramatist, Massenet is not in the same league as Puccini and Verdi. But time and again Jaho and Polenzani manage to disguise this problem through the sublime beauty of their singing." - Manon - Royal Opera House - 2014 - London

"At the heart of the piece is Albanian soprano Ermonela Jaho’s flighty heroine, good-looking in a gamine sort of way and indeed glamorous enough to queen it in the Cours-la-Reine scene. Vocally, she’s touching and, when required, brilliant, a good match for the sympathetic and often dreamily sung Des Grieux ..." Manon - Royal Opera House - 2014 London

Opéra Grand Avignon : Ermonela Jaho triomphe dans Madama Butterfly

"Quand Ermonela Jaho entre en scène, sa voix, dans un crescendo formidable, touche le cœur de tous. Puis, au fil de l’ouvrage, elle décline Cio-Cio-San sur tous les registres de sa voix, passant du plus petit pianissimo au forte passionnel. Et quand sort soudain, un petit filet de voix, il est parfaitement filé et ne rompt pas. Vivant le drame à fleur de peau, Ermonela Jaho signe une interprétation de Butterfly époustouflante, prenante, jouant et chantant avec ses tripes, laissant transparaître une fragilité émouvante. De Viene la sera leur duo d’amour enflammé, passant par Un bel di, dedremo mélancolique, jusqu’au dialogue déchirant avec son fils et enfin son sacrifice ultime, sous un soleil rouge, la soprano a tenu en haleine l’auditoire." - Cio Cio San - Madama Butterfly - 2013 - Avignon

"I chose to see Ermonela Jaho, a dramatic soprano who has stunned London audiences in previous roles such as Suor Angelica in September 2011. She was wonderful, though Puccini’s watered down attempt at operetta is always disappointing, and in those moments where you look for a thrilling climax, the composer drops the ball. But the Albanian Ms Jaho as Magda, and Brazilian tenor Attala Ayan as Ruggero, were superb together. Their excellent chemistry gave this doomed love affair an exquisite emotional pull as Magda finally shows she cannot ever be the wife of a respectable young man. ....it was Ermonela Jaho and Atalla Ayan as Magda and Ruggero who made the performance, and as they hugged one another during the stage calls the audience roared applause for their superb chemistry together." - La Rondine - Magda - 2013 - Royal Opera House London

"Artiste sensible et touchante, Ermonela Jaho n'a aucun mal à prendre les traits de l'héroïne dont elle traduit avec une belle acuité la nature délicate. Frêle sous son teint de porcelaine, la cantatrice albanaise est une comédienne d'une grande finesse, fragile papillon prêt à vivre le grand amour, qui s'enferre ensuite avec obstination dans l'illusion de l'improbable retour de celui qui l'a oubliée, avant de se suicider comme son propre père avant elle. Parfaitement accordé à cette lecture fouillée, le portrait vocal de la cantatrice est également riche d'enseignement : malgré l'immensité du plateau, celle-ci possède une musicalité exquise, un sens du drame et une technique exemplaires qui lui permettent de tenir le rôle dans ses extrémités et d'offrir, en plus d'une ligne de chant scrupuleuse à l’émission flûtée, des piani et des filati du meilleur effet. Des débuts plus que prometteurs sur la scène catalane." - Madama Butterfly - 2013 - Barcelona

"Applaudie ici même dans une magistrale interprétation de Thaïs il y a deux ans, Ermonela Jaho incarne une bouleversante Blanche de la Force. La soprano albanaise sait traduire, jusque dans ses gestes, les peurs etles névroses de la jeune aristocrate, tandis que la voix éblouit par la beauté intrinsèque de son timbre, l’opulence de ses moyens, la diversité de ses couleurs et son incroyable projection." 

Zaza  - Barbican Hall - London - BBC Orchestra

Zaza - Barbican Hall - London

Manon - Ermonela Jaho - Royal Opera House London - Photo Bill Cooper

La Traviata - Violetta - Ermonela Jaho - Photo E.Moreno Esquibel

Madama Butterfly - ROH London 2017

Madama Butterfly - ROH London 2017

Oman - Koncert with Placido Domingo

Oman - Koncert with Placido Domingo

Oman - Koncert

Oman - Koncert

Traviata - National Opera de Paris

Traviata - National Opera de Paris

La Traviata - Ermonela Jaho - Photo E.Moreno Esquibel

"Jaho is both commanding and vulnerable as the convalescent heroine, and her dark, veiled sound creates a sense of time-warp: we’re not revisiting the era of Amelita Galli-Curci, but we’re definitely going in that direction. Jaho’s gestures and attitudes have an expressive grace for which Costello’s airy, boyish lyricism makes the ideal foil. And Jaho uses her first big aria to engage us powerfully in her predicament: this woman, you feel, really does know the toughness of life on the wrong side of the tracks...But in Act Two she encounters Paolo Gavanelli as Alfredo’s father Germont: alas. The great scene in which she is persuaded to  renounce her love should reflect a subtle emotional journey, but while Jaho breaks the heart – it’s like watching the life being crushed out of a bird.......with Germont gone, Jaho takes over with awe-inspiring authority. I have never seen the physical and psychological reality of untimely death portrayed as terrifyingly – and with singing of such harrowing beauty - as here. When Anna Netrebko returns to this role on January 17, she’ll have a hard act to follow. But in Maurizio Benini she’ll have the same excellent conductor." The Independent - La Traviata - 2012 - London - ROH

"In performances of Puccini’s Il Trittico the first opera Il Tabarro often delivers the heaviest emotional punch, but not here. Suor Angelica knocked Tabarro right off the stage because of one person, Ermonela Jaho. She was . . . words fail me . . . sublime . . . ethereal. You have to beg, borrow or steal to get tickets for this show just to see her performance. She is so pure as she sings flowers of the living, and in death the Virgin Mother anticipates them all — yet after Anna Larsson as her aunt the princess arrives, cold and elegant in black, and carrying a lovely fox stole, Ms. Jaho starts to show real emotion, singing of her son, and asking for news of him. Her È morto? followed by her anguished cry, was as lyrical as it was powerful. In this production the abbess moves Angelica’s hand to sign the document, smiling obsequiously to the princess, contaminating the serene purity of the convent with her desire for the family’s money, and not a care in the world about Sister Angelica. When Ms Jaho has finished singing Senza mamma, with her cries of parlami, amore you know it’s the end for her. And when the end of the opera arrives what a huge triumph it is for Antonio Pappano in the orchestra pit and Ms Jaho on stage. A front drop comes down and Ms Jaho stands in a spotlight to thunderous applause." Suor Angelica - 2011 - London - ROH

“In the theater, Suor Angelica packed a stronger punch [than Il Tabarro]. Here, on DVD, it is little short of devastating...Jaho's youthful vulnerability is deeply moving..Outstandingly filmed, this set marks a high point for live opera on DVD...I have no hesitation in making this new Trittico the top recommendation.” Gramophone Magazine, October 2012

"The Royal Opera House did redeem itself, though. Above all with the new production of Puccini’sIl trittico. Very little in any opera house this year was as touching as Ermonela Jaho’s tragic Sister Angelica, and the whole trilogy found the conductor Antonio Pappano on peerless form." Suor Angelica - 2011 - London - ROH

"Jaho delivers the aria (“Senza mamma”) with bone-shaking intensity finding only a semblance of release in that seraphic final note. How I would love to see her Butterfly." Suor Angelica - 2011 - London - ROH

Luisa Miller: le triomphe d'Ermonela "Ermonela Jaho incarne une Luisa Miller très émouvante dans l’opéra de Verdi créé en 1849 d’après un drame du poète allemand Schiller. Une fois de plus, la belle soprano albanaise démontre son immense talent. S’il y a une chose à retenir, ce sera la prestation sublime de grâce, de pureté et de virtuosité de la soprano Ermonela Jaho. Sa voix parfois, souvent, dépasse le registre humain pour se hisser au royaume des anges : point besoin d’être savant ès opéra pour être touché au plus profond de son âme. L’éclosion de son amour pour Rodolfo et les duos avec son père sont de purs moments de bonheur. Rien que pour cela Luisa Miller mérite le détour. Peu de chose finalement face à l’excellence de l’interprétation d’Ermonela Jaho, servie par une direction musicale impeccable de Kazushi Ono." Luisa Miller - 2011 - Lyon

Kazushi Ono et Ermonela Jaho illuminent l'oeuvre de Verdi. "….une distribution dominée par Ermonela Jaho. La soprano jette toutes ses forces dans cette prise de rôle où elle réussit à nous émouvoir avec sincérité portée par une voix ductile et de jolis." Luisa Miller - 2011 - Lyon

"Quant à Ermonela Jaho, son grand lyrique verdien s’épanouit année après année. Cette Traviata parfaite campe une Luisa finement vue, entre nostalgie et perdition, et elle la chante avec la voix du bon Dieu. Quel style ! Quelle élégance et quelle présence en scène ! Si l’on souligne que l’actrice égale la chanteuse on aura compris que cette Luisa Miller doit être vue d’abord pour elle." Luisa Miller - 2011 - Lyon

"I suppose that protocol would require commenting on the title singer first, but my enthusiasm for Ermonela Jaho, the lovely Albanian spintosoprano who sang Liú, overrides the demands of that tradition. Jaho filled Civic Theatre with a warm, shimmering vocal line that communicated both her passion and tenderness. Her every phrase was irresistible, and her signature aria “Tu che de gel sei cinta” proved the evening’s most poignant moment. I found myself filled with regret that I had missed her San Diego Opera debut in 2008 singing the lead role of Donizetti’s Maria Stuarda." - Liu, Turandot - 2011 - San Diego

"Right from the start, Jaho managed to draw the audience into her dilemma, presenting a fragile heroine as the courtesan finally succumbing to love in the full knowledge that she hasn't long to live. Her defiant gesture of dashing the champagne bottle into the ice at the start of ‘Sempre libera’ fools nobody, not least Violetta herself. Her responses to Germont père’s demands in Act II that she abandon Alfredo to preserve his family’s reputation are heartfelt, as is her crushed resignation at the end of the act when Alfredo humiliates her. Good sopranos can make audiences weep during Act III – great ones can do it in Act II and, using this scale, there were a couple of occasions when Jaho attained greatness; in ‘Dite alla giovine’ she spun beautiful pianissimo lines in the duet with Dmitri Hvorostovsky, taken daringly slow, while her ‘Amami, Alfredo’ as she scatters an armful of camellias really tested the tear ducts"..... Violeta - 2010 - ROH

"Excellente actrice, se jetant à bras le corps dans son rôle, et chanteuse formidable, Ermonela Jaho s’avère digne de ses plus grands prédécesseurs. Sans difficulté aucune, elle triomphe des nombreuses difficultés du rôle – à commencer par une scène d’entrée toute en demi-teintes, couronnée d’un superbe ré-bémol suraigu. Puis, lentement, la voix commence à s’épanouir, à se parer de couleurs plus sombres, plus intenses : « Un bel di vedremo », magnifiquement construit, lui vaut la première ovation de la soirée avant que « Di tua madre » et une bouleversante scène de la mort arrachent les larmes à plus d’un spectateur"...... Butterfly - 2010

Luisa Miller - Ermonela Jaho - Lyon

La Traviata - Ermonela Jaho - Photo E.Moreno Esquibel

Suor Angelica - Ermonela Jaho - Royal Opera House - London

"Dans le rôle titre, Ermonela Jaho séduit d’emblée par la souplesse de ses « colorations », la brillance de son timbre et la flexibilité d’une voix qui acquiert au fil du drame plus d’ampleur et de profondeur expressive."..... Zaira - 2009

"Que dire encore d’Ermonela Jaho sans sombrer dans la répétition ? Cette belle chanteuse, aux mille rossignols dans la gorge, possède une souplesse aérienne qui lui permet de broder, avec des délicatesses infimes, des irisations de rêve, le beau chant bellinien, avec des nuances de dynamique, forte, mezzo forte, piano, pianissimi, qui suspendent irréellement le temps ; mais cette facilité, cette science ne seraient rien sans l’expressivité, la sensibilité d’une interprétation qui bouleverse par sa vérité immédiate dans des ornements qui ne seraient que froide pyrotechnie vocale sans cette grâce qui leur donne sens et raison d’être dramatique : face à son père qui la repousse, ses vocalises sont des sanglots, des larmes perlées....." Giulietta - 2009

"Habituée des plus grandes scènes de la planète, Ermonela Jaho impose une Juliette d’une beauté vocale foudroyante. Maîtrisant sa voix avec une sûreté absolue, elle la plie aux mille mélismes chers à Bellini et nous délivre une Juliette toute de lumière et de musicalité....." Giulietta - 2009

"Ermonela Jaho, magnétique Violetta dans « La Traviata » "Le Monde"..... Violeta - 2009

“…Jaho sang the famous line, “Alfredo, Alfredo, di questo core non puoi comprendere tutto l’amore” (“Alfredo, Alfredo, little can you fathom the love within my heart for you”). It seemed a whisper, yet the line carried through the auditorium more effectively than many of the merrier solos. In spite of the refined nature of the entertainment, the performers were given a rock-star reaction when they made their curtain calls at the end of the evening. As Jaho dropped a deep curtsey, the audience launched themselves from their seats to holler and whistle and roar.” .... Violeta - 2009

“….le è temibile pendant la sua rivale in amore, quella Micaela che a Caracalla ha cantato con la voce dell’ottima Ermonela Jaho” ….. Michaela – 2009

"Quant à la Soprano Ermonela Jaho, déjà entendue cette saison à l’opéra de Lyon, elle a chanté La Traviata sur toutes les scènes du monde. Son timbre radieux et homogène a ému, son jeu fragile et sensuel a bouleversé le public"..... Violeta - 2009

“Brava Ermonela Jaho nel ruolo di Micaela, ovviamente bionda e di azzurro vestita: bella voce per una buona interpretazione della ragazza tanto timida quanto decisa” ….. Michaela - 2009

L’intérêt principal, c’est la Violetta d’Ermonela Jaho, soprano aux aigus éclatants qui n’oublie pas que La Traviata est aussi un opéra de chambre où pleurer des rivières sur les amours déchues. Pas de vocalises gratuites ici, de la gymnastique de haute volée quand il s’agit de courir après les plaisirs (un grand gimmick de Verdi) et une voix susurrée, absolument bouleversante, quand elle accepte de se résigner par amour sous les exhortations du père de son Alfredo adoré. ..... Violeta - 2009

"Elle, Ermonela Jaho, Traviata d’emblée éblouissante, bouleversante, délicate, toute « faiblesse et fragilité » comme l’héroïne dont elle prend pour la première fois le rôle, chante comme elle parle, parle comme on voudrait chanter, tout semble naturel, timbre perlé, ourlé, jamais acéré, des rossignols dans la voix agile, facile, gracile dans son port, subtile dans son jeu. Elle est Manon" ..... Manon - 2008

 

"Jaho, d’abord, est une Manon idéale. Sa voix est d’une puissance remarquable et il semble même que Jaho se fasse piéger de temps en temps par son apparente facilité naturelle. Dès son premier air, le public est conquis" .....Manon - 2008

"Jaho, in her American role debut,demonstrated how Stuarda should be performed and received a standing ovation for her efforts.Possessing a lirico-spinto voice of great beauty, and a luscious vibrato always impeccably in control, Jaho’s voice fits the requirements of the opera’s title role, with its abundant legato passages, chromatic runs, and brief coloratura bouts" ..... Stuarda - 2008

"Jaho is an extraordinary singer, and one of whom the wider world should take notice"..... Stuarda - 2008

"the Gilda of Ermonela Jaho,who abandons herself to the part so that her singing and acting seems as one"...... - Gilda - 2006

"Jaho appears to be a singer who drains herself emotionally with each performance and has that gift for moving listeners"..... Traviata - 2007

"soprano Ermonela Jaho is a singer who grasps the very heart and soul as well as the technical demands of bel canto"..... - Mimi 2006

"E ammaliatrice autentica.Eterea deuteragonista e la Micaela del soprano albanese Ermonela Jaho, presenza inizialmente angelicata,di impianto vocale scintillante,che matura in donna dolente quando il suo sogno e all’epilogo".....Michaela -2004