Reviews
Queen of the Night: The Magic Flute with New Zealand Opera
"...her voice had all the agility demanded and her whole presentation was splendid."
Classical Music Reviews, New Zealand
"The Queen of the Night was given a riveting performance by Ruth Jenkins-Robertsson and her big arias were full of chilling sounds, she varied her volume and emotional edge superbly."
NBR
"Ruth Jenkins-Robertsson, glittering and venomous..."
The Opera Critic
"British soprano Ruth Jenkins-Robertsson made a fearsome Queen of the Night, both vocally and visually, her calls for vengeance superbly biting and with considerably more steel than your average coloratura."
Bachtrack
"Ruth Jenkins-Robertsson's Queen of the Night holding the audience in awe with her voice..."
KUWNZ
Tippett A Child of Our Time and Mozart Requiem with Hertfordshire Chorus
“...Throughout the evening Ruth Jenkins-Róbertsson was the soloist who really stood out with her tremendous clarity and vocal quality. She is definitely one artist I really hope to hear again.”
The Herts Advertiser
Mozart Requiem with John Rutter and the Royal Philharmonic Orchestra at St. Paul’s Cathedral
“Soprano Ruth Jenkins-Róbertsson displayed a bright and rich vocal quality which spun on top of the RPO’s luscious accompaniment.”
Bachtrack
“…Ruth Jenkins-Róbertsson sang with great direction and captured the phrasing and expression to the extent that it carried as much depth as an operatic aria.”
Bachtrack
Philine: Mignon with New Sussex Opera
“…Ruth Jenkins-Róbertsson’s Philine, who scintillated effortlessly through the coloratura of “Je suis Titania.”
Telegraph
“…We were treated to two exceptional voices in Victoria Simmonds (Mignon) and Ruth Jenkins-Róbertsson (Philine)…”
Bachtrack
“…Titania's aria, delivered with bravura energy by Jenkins-Róbertsson…”
Bachtrack
“There are superb central performances from Victoria Simmonds as Mignon and Ruth Jenkins-Róbertsson as Philine…Jenkins-Róbertsson nicely conveys Philine’s manipulative self-aggrandisement, and her coloratura is simply dazzling.”
The Guardian
“I was hugely impressed by Ruth Jenkins-Robertsson as Philine..”Je suis Titania” appeared to hold no terrors for her and she provided just the right frivolous glamour... I’d like to see more of her.”
Operanotes
“Ruth Jenkins-Robertsson was compelling in the role of Philine – actress and man eater…”
The Argus
Fire and Nightingale: L'enfant et les sortilèges with Samling Arts
“…My biggest gasp in the hour’s entertainment was the entrance of Jenkins-Róbertsson as the fire. To hear the power of her fully trained voice springing up and down the register was stunning. Including a young professional in the mix made for fascinating comparisons with the other singers, who are still at the beginning of their professional journeys. She lifted the performance and sparkled!”
North East Music Magazine
Queen of the Night: The Magic Flute with Northern Ireland Opera
“…Ruth Jenkins-Róbertsson's fiery Queen of Night…”
The Sunday Times
“…Ruth Jenkins-Róbertsson's entrance as the Queen of the Night was spectacularly staged and vocally impressive…”
Opera Journal
“Ruth Jenkins-Róbertsson’s Queen of the Night is pure Victorian melodrama.”
Irish Times
“…the power of the Queen of the Night who can control her subjects like a dominatrix with a superb voice.”
Belfast Times
Lisette: La Rondine with Iford Arts
“…Magda’s maid Lisette, given a finely-sung and shrewd comic performance by Ruth Jenkins-Rόbertsson.”
Opera
"Ruth Jenkins-Róbertsson is a brilliant Lisette, with wonderful projection, cheeky characterisation and strong stage presence. Jenkins-Róbertsson gives us some spinetingling high notes, and also acts adeptly, hilarious when playing drunk.”
Bachtrack
“…Lisette, who was delightfully portrayed by Ruth Jenkins-Róbertsson.”
The Guardian
“…with Magda’s maid Lisette, a finely sung, sly comic turn from Ruth Jenkins-Robertsson.”
Classical Souce
“…poet and the maid, played by Christopher Turner and Ruth Jenkins-Robertsson respectively. Both were fine singers and able to bring considerable humour to their roles. The delightful scene where Prunier is encouraging Lisette to change her outfit before going to Café Bullier was one of the highlights of the evening.”
Fine Times Recorder
Norina: Don Pasquale with Scottish Opera
“Best of all, though, was the sparkling Norina of Ruth Jenkins-Róbertsson, a masterclass in how to sing a bel canto heroine. She had the full range of the role, capped by a gleaming top and rock-solid coloratura, and the soubrettish colour of her voice allowed her to fit right inside the character. She is one to watch.”
Seen and Heard International
“Two things haunt me from the opening night of Scottish Opera's new production of Donizetti's Don Pasquale. One is the quivering, clear and beautiful soprano voice of Ruth Jenkins-Robertsson as Norina, scaling the dizzy heights of Donizetti's score as lead and love interest. The other is the luminous green cats.”
Herald Scotland
“Ruth Jenkins-Róbertsson gave a thrilling performance as Norina with a bright, clear voice and perfect coloratura. She had the greatest of fun causing a major upset, as she twisted the Don round her finger using her alluring feline mannerisms. A Samling scholar only recently out of opera school, she is a definitely a voice to watch out for.”
Bachtrack
“All sing well, and young Jenkins-Robertsson in particular is stunning: the tone bright but not strident, the coloratura crystal-clear, and plenty of theatrical verve too.”
The Times
“She makes that role her own, with a strong, substantial voice that still dances lightly through the fast passages and a performance that plays deliciously on the cat theme.”
The Stage
“Ruth Jenkins-Róbertsson, returning to the company after her triumphant Papagena in 2012′s The Magic Flute is a spirited and formidable Norina, but keeps the audience on her side by never playing up the crueller aspects of the character and her sprightly coloratura technique is excellent.”
The Public Reviews
The silky voice of Jenkins-Róbertsson keeps Norina /Sofronia on the right side of good humour and malice-free. Even at her ‘post-marital’ bossiest, there is no edge of harshness, rather a down-to-earth matter-of-factness that Pasquale must learn his lesson.
The Opera Critic
Ruth Jenkins – Robertsson ha dato vita ad una esuberante Norina, ottima la sua voce per la parte ed ha calzato appieno il personaggio che il regista le ha disegnato. Il suo passaggio da docile gattina che fa le fusa a tigre affamata è stato di grande effetto comico.
Opera World
Ruth Jenkins-Robertsson as Norina coming on all Nigellissima, in her Capri pants, with just a sliver of Sybil Fawlty – a star in the making.
www.dailyrecord.co.uk
“a 26-year-old soprano who is clearly going places”
Guardian
“Ruth Jenkins-Róbertsson is also rather wonderful as Norina, with a voice that thrills in the trills yet is solid against the full orchestra. And she takes her character from putting-it-on shy kitten to tyrannical tigress with great comic effect.”
www.thomdibdin.co.uk
“Ruth Jenkins-Róbertsson’s Norina looks like an opera singer on holiday when she first enters, yet manages the kitten-turned-tigress transformation with ease, and she has the right mix of silver and steel in her soprano.”
Telegraph
“Ruth Jenkins-Róbertsson’s Norina holds the stage well and makes the most of her well-schooled soprano.”
Financial Times
“Ruth Jenkins-Robertsson cuts a convincingly conniving Norina.”
The Scotsman
“Ruth Jenkins-Robertsson’s Norina is charmingly characterised”
Opera Now
Handel Messiah at Sage Gateshead, with The Royal Northern Sinfonia and Samling
“Soprano Ruth Jenkins-Róbertsson gave a warm and full-hearted performance of “I know that my Redeemer liveth”, and I loved all of her ornamented final cadences, but where she shone was in “Rejoice greatly”. She sang this aria with a real jubilance; her runs were perfectly shaped, which gave them direction and made them truly exciting to listen to and she added some ecstatic high notes into her da capo.”
www.bachtrack.com
“Soprano Ruth Jenkins-Róbertsson sang “Rejoice Greatly!” with unerring high notes and thrilling runs.”
Northern Echo
Zerlina: Don Giovanni with Scottish Opera
“Ruth Jenkins-Róbertsson’s pure-voiced Zerlina (a double cast part in this run) was a particular delight of the evening.”
www.bachtrack.com
“Jenkins-Róbertsson invests Zerlina with more gravity and maturity than the usual flirtatious soubrette”
The Opera Critic
"Ruth Jenkins-Robertsson’s Zerlina was refreshingly effective."
Nairnshire Telegraph
Dew Fairy: Hänsel und Gretel with Garsington Opera
“The Sandman (Rhiannon Llewellyn) and Dew Fairy (Ruth Jenkins) were both beautifully sung and suitably magical…”
Classical Source
“…Ruth Jenkins a clear-voiced Dew Fairy.”
Music OMH
“Both Rhiannon Llewellyn as the Sandman and Ruth Jenkins as the Dew Fairy contributed beautifully poised accounts of their arias.”
Opera Today
“Both delivering their cameo appearances with perfect neatness, Rhiannon Llewellyn’s Sandman – with an eerie suggestion of Nosferatu in her makeup and costuming - and Ruth Jenkins’s Dew Fairym more saccharine in her appearance, complete a strong cast.”
The Guardian
“Two operatic newcomers impress in smaller roles…Ruth Jenkins a perky Dew Fairy in tartan tutu.”
Sunday Express
“The supporting cast is excellent in Rhiannon Llewellyn’s eerie Sandman and Ruth Jenkins’ sugar sweet Dew Fairy”
Orla Browne
Papagena: The Magic Flute with Scottish Opera
“Making her Scottish Opera debut, Ruth Jenkins as a strongly sung Papagena was a fitting match for her Papageno.”
Bachtrack
“…Ruth Jenkins makes an unusually musical Papagena.”
Seven Magazine
“…further down the cast sounded first rate…Ruth Jenkins’ perky Papagena…”
The Daily Telegraph
“…delightful in her all-too-short appearances as Papagena.”
Opera Now
“Ruth Jenkins’ Papagena rises easily to equal (Richard) Burkhard’s vocal eloquence.”
The Stage
“…Ruth Jenkins’ big-voiced Papagena…”
The Sunday Times
“…Ruth Jenkins’ gleeful Papagena…”
The Times
The Chichester Singers with Jonathan Willcocks and Southern Pro Musica Brass at Chichester Cathedral
“Ruth Jenkins crowned the event with virtuoso performances which included a stunning performance of Handel’s “Myself I shall adore” with its fast-moving intricate triplets and mesmerizingly pure and high sustained notes in the Willcocks “Magnificat” – singer and cathedral acoustic perfectly matched.”
Chichester Observer
Queen of the Night: The Magic Flute, Bath International Music Festival
“As Queen of the Night, Ruth Jenkins excels with her vocal power and range…”
This is Bath
“…Ruth Jenkins’s Queen surfing the stratospheric coloratura with aplomb…”
Venue
Kathleen Ferrier Awards
“Ruth Jenkins demonstrated variety of tone and a broad tessitura in an interesting programme which embraced Schubert, Wolf, Handel, James MacMillan and the Icelandic composer Sigfús Einarsson.”
Opera Today
“Jenkins wins my personal award for her flexible and focused voice, her dramatic acumen and lively programming (she even visited Iceland).”
The Times
Messiah with Hook Choral Society
“All four soloists delivered stunning performances that illustrated superb vocal technique and sublime musicianship. Anna Harvey’s rich, velvety qualities contrasted very well with the bright, dazzling vocal timbres of Ruth Jenkins… Ruth Jenkins’s vocal alacrity was most apparent in the aria Rejoice Greatly which enabled her to display the full range of her sparkling pure tones in the long melismatic passages.”
Basingstoke Gazette
Königin der Nacht: Die Zauberflöte at the Royal Academy Opera
“One soprano I shall particularly listen out for is Ruth Jenkins, already an assured Queen of the Night, who crowned her finely balanced legato singing with brilliantly controlled coloratura that made her arias high points of the performance.”
Opera Magazine
“…Ruth Jenkins’s Queen properly formidable and with a voice on the way to big things.”
Opera Now
“Ruth Jenkins made a sensational Queen of the Night, fully up to the extraordinary demands of the role’s coloratura, with a dramatic power and clarion intensity in the sound that gave the voice a thrilling edge.…her accuracy and facility are quite extraordinary and I couldn’t hear any aspirates. She’s sensational.”
Bachtrack
“Such a joy to hear coloratura sung with such clarity and proper support!”
Capriccio
“…Hölle Rache was very fine, with crisply articulated, pin-point accurate coloratura and easy control of fluid decorations.”
Classical Source
Kohn Society Bach Cantata Series
“Soprano Ruth Jenkins made a belated appearance for the final aria and recitative. Beautiful voice aside, rarely have I heard a soprano with such perfect diction.”
Bachtrack
Royal Academy of Music Song Circle
“At a rehearsal, I met three hugely talented members of the Song Circle – pianist Matthew Fletcher, tenor Stuart Jackson and soprano Ruth
Jenkins”
Rupert Christiansen, The Daily Telegraph
Papagena: The Magic Flute with Garsington Opera
“...Ruth Jenkins is a sparky Papagena.”
The Express
“Ruth Jenkins, excellent.”
The Arts Desk
Zhou: Sir Peter Maxwell Davies Kommilitonen!
“Marcus Farnsworth, Aoife Miskelly, Katie Bray, and Ruth Jenkins were outstanding”
Church Times
“…In this scene, Ruth Jenkins as Zhou, the Red Guard leader (doubling with Anna Gorbachyova), quickly established herself as one of the opera's strong suits: bossy, vital and energetic, plus a voice with rich timbres and clear and feisty forward projection.”
Daily Classical music
“…The Mao portions of the opera are colourfully satirical, not least through some ingenious stage puppeteering…Speaking for this Little Red Book wielding crowd is the zealot-perky Zhou of Ruth Jenkins, projecting voice and character right to the back of the theatre.”
Framescourer
Fiordiligi: Cosi Fan Tutte with Royal Academy Opera
“…Ruth Jenkins ran the show as Fiordiligi: in spite of the daftness of her lines, she was totally credible in her angst-ridden transition from primness to infatuation.”
Bachtrack
“Ruth Jenkins’s Fiordiligi impressed. It is not easy even to cover the notes – and it will be painfully evident if the soprano fails to do so – but Jenkins imparted a good deal of meaning to them too, her parodies of grand opera seria arias especially noteworthy.”
Boulezian
Handel Messiah at King’s College Cambridge
“We have come to expect the Harlow Chorus to select its soloists with an unerring feel for balance (visually and vocally) and for excellence…Ruth
Jenkins looked and sounded radiant in urging us to “rejoice greatly…”
David Batterbee
The Chichester Singers, Chichester Cathedral
“…The four soloists were superb whether singing alone or as a trio or quartet…The soprano aria Laudate Dominum was performed by Ruth Jenkins with tenderness and sensitivity…The bright and confident singing of Mozart's Exultate Jubilate by Ruth Jenkins was a highlight of the concert. Written by Mozart while he was still in his teens, this famous motet is an ideal choice for a young soprano at the threshold of her career and newly-graduated Ruth Jenkins could not have been a better soloist.”
Bognor Regis Observer
Vivaldi Gloria with King’s College Choir Cambridge at St. David’s Hall Cardiff
“…In ‘Laudamus te’, Clare Lloyd was joined by Ruth Jenkins… in a duet sung with authority and precision, the two soprano voices beautifully matched and their lines interwoven with real beauty and sureness…”
The Opera Critic
NAXOS St Mark Passion with the Choir of Jesus College Cambridge
“…I’d also single out for special praise the way they sing the hymn, ‘My God I love Thee’ after the Third Gospel. The singing here is dedicated and the final verse is distinguished by radiantly pure solo soprano descant, which Ruth Jenkins delivers quite beautifully…”
Music Web International
“…The fourth hymn, My God, I love Thee is a beautiful and intimate expression of thanksgiving for Christ’s suffering. The highlight of the disc is the serene final verse sung so stunningly and gloriously by soprano Ruth Jenkins…..Lovers of sacred choral music will be delighted with this quite superbly sung and recorded setting of the St. Mark Passion. The disc is worth obtaining alone for Ruth Jenkins’s soprano solo on the hymn My God, I love Thee...”
Music Web International
Queen of the Night: The Magic Flute with New Zealand Opera
"...her voice had all the agility demanded and her whole presentation was splendid."
Classical Music Reviews, New Zealand
"The Queen of the Night was given a riveting performance by Ruth Jenkins-Robertsson and her big arias were full of chilling sounds, she varied her volume and emotional edge superbly."
NBR
"Ruth Jenkins-Robertsson, glittering and venomous..."
The Opera Critic
"British soprano Ruth Jenkins-Robertsson made a fearsome Queen of the Night, both vocally and visually, her calls for vengeance superbly biting and with considerably more steel than your average coloratura."
Bachtrack
"Ruth Jenkins-Robertsson's Queen of the Night holding the audience in awe with her voice..."
KUWNZ
Tippett A Child of Our Time and Mozart Requiem with Hertfordshire Chorus
“...Throughout the evening Ruth Jenkins-Róbertsson was the soloist who really stood out with her tremendous clarity and vocal quality. She is definitely one artist I really hope to hear again.”
The Herts Advertiser
Mozart Requiem with John Rutter and the Royal Philharmonic Orchestra at St. Paul’s Cathedral
“Soprano Ruth Jenkins-Róbertsson displayed a bright and rich vocal quality which spun on top of the RPO’s luscious accompaniment.”
Bachtrack
“…Ruth Jenkins-Róbertsson sang with great direction and captured the phrasing and expression to the extent that it carried as much depth as an operatic aria.”
Bachtrack
Philine: Mignon with New Sussex Opera
“…Ruth Jenkins-Róbertsson’s Philine, who scintillated effortlessly through the coloratura of “Je suis Titania.”
Telegraph
“…We were treated to two exceptional voices in Victoria Simmonds (Mignon) and Ruth Jenkins-Róbertsson (Philine)…”
Bachtrack
“…Titania's aria, delivered with bravura energy by Jenkins-Róbertsson…”
Bachtrack
“There are superb central performances from Victoria Simmonds as Mignon and Ruth Jenkins-Róbertsson as Philine…Jenkins-Róbertsson nicely conveys Philine’s manipulative self-aggrandisement, and her coloratura is simply dazzling.”
The Guardian
“I was hugely impressed by Ruth Jenkins-Robertsson as Philine..”Je suis Titania” appeared to hold no terrors for her and she provided just the right frivolous glamour... I’d like to see more of her.”
Operanotes
“Ruth Jenkins-Robertsson was compelling in the role of Philine – actress and man eater…”
The Argus
Fire and Nightingale: L'enfant et les sortilèges with Samling Arts
“…My biggest gasp in the hour’s entertainment was the entrance of Jenkins-Róbertsson as the fire. To hear the power of her fully trained voice springing up and down the register was stunning. Including a young professional in the mix made for fascinating comparisons with the other singers, who are still at the beginning of their professional journeys. She lifted the performance and sparkled!”
North East Music Magazine
Queen of the Night: The Magic Flute with Northern Ireland Opera
“…Ruth Jenkins-Róbertsson's fiery Queen of Night…”
The Sunday Times
“…Ruth Jenkins-Róbertsson's entrance as the Queen of the Night was spectacularly staged and vocally impressive…”
Opera Journal
“Ruth Jenkins-Róbertsson’s Queen of the Night is pure Victorian melodrama.”
Irish Times
“…the power of the Queen of the Night who can control her subjects like a dominatrix with a superb voice.”
Belfast Times
Lisette: La Rondine with Iford Arts
“…Magda’s maid Lisette, given a finely-sung and shrewd comic performance by Ruth Jenkins-Rόbertsson.”
Opera
"Ruth Jenkins-Róbertsson is a brilliant Lisette, with wonderful projection, cheeky characterisation and strong stage presence. Jenkins-Róbertsson gives us some spinetingling high notes, and also acts adeptly, hilarious when playing drunk.”
Bachtrack
“…Lisette, who was delightfully portrayed by Ruth Jenkins-Róbertsson.”
The Guardian
“…with Magda’s maid Lisette, a finely sung, sly comic turn from Ruth Jenkins-Robertsson.”
Classical Souce
“…poet and the maid, played by Christopher Turner and Ruth Jenkins-Robertsson respectively. Both were fine singers and able to bring considerable humour to their roles. The delightful scene where Prunier is encouraging Lisette to change her outfit before going to Café Bullier was one of the highlights of the evening.”
Fine Times Recorder
Norina: Don Pasquale with Scottish Opera
“Best of all, though, was the sparkling Norina of Ruth Jenkins-Róbertsson, a masterclass in how to sing a bel canto heroine. She had the full range of the role, capped by a gleaming top and rock-solid coloratura, and the soubrettish colour of her voice allowed her to fit right inside the character. She is one to watch.”
Seen and Heard International
“Two things haunt me from the opening night of Scottish Opera's new production of Donizetti's Don Pasquale. One is the quivering, clear and beautiful soprano voice of Ruth Jenkins-Robertsson as Norina, scaling the dizzy heights of Donizetti's score as lead and love interest. The other is the luminous green cats.”
Herald Scotland
“Ruth Jenkins-Róbertsson gave a thrilling performance as Norina with a bright, clear voice and perfect coloratura. She had the greatest of fun causing a major upset, as she twisted the Don round her finger using her alluring feline mannerisms. A Samling scholar only recently out of opera school, she is a definitely a voice to watch out for.”
Bachtrack
“All sing well, and young Jenkins-Robertsson in particular is stunning: the tone bright but not strident, the coloratura crystal-clear, and plenty of theatrical verve too.”
The Times
“She makes that role her own, with a strong, substantial voice that still dances lightly through the fast passages and a performance that plays deliciously on the cat theme.”
The Stage
“Ruth Jenkins-Róbertsson, returning to the company after her triumphant Papagena in 2012′s The Magic Flute is a spirited and formidable Norina, but keeps the audience on her side by never playing up the crueller aspects of the character and her sprightly coloratura technique is excellent.”
The Public Reviews
The silky voice of Jenkins-Róbertsson keeps Norina /Sofronia on the right side of good humour and malice-free. Even at her ‘post-marital’ bossiest, there is no edge of harshness, rather a down-to-earth matter-of-factness that Pasquale must learn his lesson.
The Opera Critic
Ruth Jenkins – Robertsson ha dato vita ad una esuberante Norina, ottima la sua voce per la parte ed ha calzato appieno il personaggio che il regista le ha disegnato. Il suo passaggio da docile gattina che fa le fusa a tigre affamata è stato di grande effetto comico.
Opera World
Ruth Jenkins-Robertsson as Norina coming on all Nigellissima, in her Capri pants, with just a sliver of Sybil Fawlty – a star in the making.
www.dailyrecord.co.uk
“a 26-year-old soprano who is clearly going places”
Guardian
“Ruth Jenkins-Róbertsson is also rather wonderful as Norina, with a voice that thrills in the trills yet is solid against the full orchestra. And she takes her character from putting-it-on shy kitten to tyrannical tigress with great comic effect.”
www.thomdibdin.co.uk
“Ruth Jenkins-Róbertsson’s Norina looks like an opera singer on holiday when she first enters, yet manages the kitten-turned-tigress transformation with ease, and she has the right mix of silver and steel in her soprano.”
Telegraph
“Ruth Jenkins-Róbertsson’s Norina holds the stage well and makes the most of her well-schooled soprano.”
Financial Times
“Ruth Jenkins-Robertsson cuts a convincingly conniving Norina.”
The Scotsman
“Ruth Jenkins-Robertsson’s Norina is charmingly characterised”
Opera Now
Handel Messiah at Sage Gateshead, with The Royal Northern Sinfonia and Samling
“Soprano Ruth Jenkins-Róbertsson gave a warm and full-hearted performance of “I know that my Redeemer liveth”, and I loved all of her ornamented final cadences, but where she shone was in “Rejoice greatly”. She sang this aria with a real jubilance; her runs were perfectly shaped, which gave them direction and made them truly exciting to listen to and she added some ecstatic high notes into her da capo.”
www.bachtrack.com
“Soprano Ruth Jenkins-Róbertsson sang “Rejoice Greatly!” with unerring high notes and thrilling runs.”
Northern Echo
Zerlina: Don Giovanni with Scottish Opera
“Ruth Jenkins-Róbertsson’s pure-voiced Zerlina (a double cast part in this run) was a particular delight of the evening.”
www.bachtrack.com
“Jenkins-Róbertsson invests Zerlina with more gravity and maturity than the usual flirtatious soubrette”
The Opera Critic
"Ruth Jenkins-Robertsson’s Zerlina was refreshingly effective."
Nairnshire Telegraph
Dew Fairy: Hänsel und Gretel with Garsington Opera
“The Sandman (Rhiannon Llewellyn) and Dew Fairy (Ruth Jenkins) were both beautifully sung and suitably magical…”
Classical Source
“…Ruth Jenkins a clear-voiced Dew Fairy.”
Music OMH
“Both Rhiannon Llewellyn as the Sandman and Ruth Jenkins as the Dew Fairy contributed beautifully poised accounts of their arias.”
Opera Today
“Both delivering their cameo appearances with perfect neatness, Rhiannon Llewellyn’s Sandman – with an eerie suggestion of Nosferatu in her makeup and costuming - and Ruth Jenkins’s Dew Fairym more saccharine in her appearance, complete a strong cast.”
The Guardian
“Two operatic newcomers impress in smaller roles…Ruth Jenkins a perky Dew Fairy in tartan tutu.”
Sunday Express
“The supporting cast is excellent in Rhiannon Llewellyn’s eerie Sandman and Ruth Jenkins’ sugar sweet Dew Fairy”
Orla Browne
Papagena: The Magic Flute with Scottish Opera
“Making her Scottish Opera debut, Ruth Jenkins as a strongly sung Papagena was a fitting match for her Papageno.”
Bachtrack
“…Ruth Jenkins makes an unusually musical Papagena.”
Seven Magazine
“…further down the cast sounded first rate…Ruth Jenkins’ perky Papagena…”
The Daily Telegraph
“…delightful in her all-too-short appearances as Papagena.”
Opera Now
“Ruth Jenkins’ Papagena rises easily to equal (Richard) Burkhard’s vocal eloquence.”
The Stage
“…Ruth Jenkins’ big-voiced Papagena…”
The Sunday Times
“…Ruth Jenkins’ gleeful Papagena…”
The Times
The Chichester Singers with Jonathan Willcocks and Southern Pro Musica Brass at Chichester Cathedral
“Ruth Jenkins crowned the event with virtuoso performances which included a stunning performance of Handel’s “Myself I shall adore” with its fast-moving intricate triplets and mesmerizingly pure and high sustained notes in the Willcocks “Magnificat” – singer and cathedral acoustic perfectly matched.”
Chichester Observer
Queen of the Night: The Magic Flute, Bath International Music Festival
“As Queen of the Night, Ruth Jenkins excels with her vocal power and range…”
This is Bath
“…Ruth Jenkins’s Queen surfing the stratospheric coloratura with aplomb…”
Venue
Kathleen Ferrier Awards
“Ruth Jenkins demonstrated variety of tone and a broad tessitura in an interesting programme which embraced Schubert, Wolf, Handel, James MacMillan and the Icelandic composer Sigfús Einarsson.”
Opera Today
“Jenkins wins my personal award for her flexible and focused voice, her dramatic acumen and lively programming (she even visited Iceland).”
The Times
Messiah with Hook Choral Society
“All four soloists delivered stunning performances that illustrated superb vocal technique and sublime musicianship. Anna Harvey’s rich, velvety qualities contrasted very well with the bright, dazzling vocal timbres of Ruth Jenkins… Ruth Jenkins’s vocal alacrity was most apparent in the aria Rejoice Greatly which enabled her to display the full range of her sparkling pure tones in the long melismatic passages.”
Basingstoke Gazette
Königin der Nacht: Die Zauberflöte at the Royal Academy Opera
“One soprano I shall particularly listen out for is Ruth Jenkins, already an assured Queen of the Night, who crowned her finely balanced legato singing with brilliantly controlled coloratura that made her arias high points of the performance.”
Opera Magazine
“…Ruth Jenkins’s Queen properly formidable and with a voice on the way to big things.”
Opera Now
“Ruth Jenkins made a sensational Queen of the Night, fully up to the extraordinary demands of the role’s coloratura, with a dramatic power and clarion intensity in the sound that gave the voice a thrilling edge.…her accuracy and facility are quite extraordinary and I couldn’t hear any aspirates. She’s sensational.”
Bachtrack
“Such a joy to hear coloratura sung with such clarity and proper support!”
Capriccio
“…Hölle Rache was very fine, with crisply articulated, pin-point accurate coloratura and easy control of fluid decorations.”
Classical Source
Kohn Society Bach Cantata Series
“Soprano Ruth Jenkins made a belated appearance for the final aria and recitative. Beautiful voice aside, rarely have I heard a soprano with such perfect diction.”
Bachtrack
Royal Academy of Music Song Circle
“At a rehearsal, I met three hugely talented members of the Song Circle – pianist Matthew Fletcher, tenor Stuart Jackson and soprano Ruth
Jenkins”
Rupert Christiansen, The Daily Telegraph
Papagena: The Magic Flute with Garsington Opera
“...Ruth Jenkins is a sparky Papagena.”
The Express
“Ruth Jenkins, excellent.”
The Arts Desk
Zhou: Sir Peter Maxwell Davies Kommilitonen!
“Marcus Farnsworth, Aoife Miskelly, Katie Bray, and Ruth Jenkins were outstanding”
Church Times
“…In this scene, Ruth Jenkins as Zhou, the Red Guard leader (doubling with Anna Gorbachyova), quickly established herself as one of the opera's strong suits: bossy, vital and energetic, plus a voice with rich timbres and clear and feisty forward projection.”
Daily Classical music
“…The Mao portions of the opera are colourfully satirical, not least through some ingenious stage puppeteering…Speaking for this Little Red Book wielding crowd is the zealot-perky Zhou of Ruth Jenkins, projecting voice and character right to the back of the theatre.”
Framescourer
Fiordiligi: Cosi Fan Tutte with Royal Academy Opera
“…Ruth Jenkins ran the show as Fiordiligi: in spite of the daftness of her lines, she was totally credible in her angst-ridden transition from primness to infatuation.”
Bachtrack
“Ruth Jenkins’s Fiordiligi impressed. It is not easy even to cover the notes – and it will be painfully evident if the soprano fails to do so – but Jenkins imparted a good deal of meaning to them too, her parodies of grand opera seria arias especially noteworthy.”
Boulezian
Handel Messiah at King’s College Cambridge
“We have come to expect the Harlow Chorus to select its soloists with an unerring feel for balance (visually and vocally) and for excellence…Ruth
Jenkins looked and sounded radiant in urging us to “rejoice greatly…”
David Batterbee
The Chichester Singers, Chichester Cathedral
“…The four soloists were superb whether singing alone or as a trio or quartet…The soprano aria Laudate Dominum was performed by Ruth Jenkins with tenderness and sensitivity…The bright and confident singing of Mozart's Exultate Jubilate by Ruth Jenkins was a highlight of the concert. Written by Mozart while he was still in his teens, this famous motet is an ideal choice for a young soprano at the threshold of her career and newly-graduated Ruth Jenkins could not have been a better soloist.”
Bognor Regis Observer
Vivaldi Gloria with King’s College Choir Cambridge at St. David’s Hall Cardiff
“…In ‘Laudamus te’, Clare Lloyd was joined by Ruth Jenkins… in a duet sung with authority and precision, the two soprano voices beautifully matched and their lines interwoven with real beauty and sureness…”
The Opera Critic
NAXOS St Mark Passion with the Choir of Jesus College Cambridge
“…I’d also single out for special praise the way they sing the hymn, ‘My God I love Thee’ after the Third Gospel. The singing here is dedicated and the final verse is distinguished by radiantly pure solo soprano descant, which Ruth Jenkins delivers quite beautifully…”
Music Web International
“…The fourth hymn, My God, I love Thee is a beautiful and intimate expression of thanksgiving for Christ’s suffering. The highlight of the disc is the serene final verse sung so stunningly and gloriously by soprano Ruth Jenkins…..Lovers of sacred choral music will be delighted with this quite superbly sung and recorded setting of the St. Mark Passion. The disc is worth obtaining alone for Ruth Jenkins’s soprano solo on the hymn My God, I love Thee...”
Music Web International