‘Outstanding contralto Jess Dandy just gets better and better, bringing real gravitas and moral authority to the priggish “good son” Sancio, holding her ground against…rival Alfonso & Altomaro.’

Alexandra Coghlan, The Ipaper

Jess is making a name for herself as a specialist in the contralto roles of Handel.  Described as ‘stand-out’, she sang the role of Eduige in the English Concert recording of Handel Rodelinda, which was nominated for a Gramophone and BBC Music Magazine Award, as well as being the Times album of the week.  

Contemporary opera, and particularly the co-creation of new work, is another particular interest.  Beginning her operatic journey with George Benjamin Into the Little Hill with Shadwell Opera (Finnegan Downie Dear/Jack Furness), Jess has gone on to create various works with composer Alex Mills, whose opera Dear Marie Stopes appeared at the Wellcome Collection and Kings Place.  Jess looks forward to making her French operatic debut next year at Opéra Grand Avignon in Three Lunar Seas, a new opera by Josephine Stephenson.

Jess will be developing her operatic work over the coming seasons.  You can hear a selection of arias in the videos below.

Gluck Che farò senza Euridice?

Jess Dandy, Orfeo Kerstin Thomas, Euridice Dylan Perez, piano

Bobby Williams, Sound & Video February 2020 St Paul's Knightsbridge

Jess Dandy 'I was a constant faithful wife' Walton, The Bear

Jess Dandy 'Près des remparts de Séville' (Séguidilla) Carmen, Bizet

Handel ‘As with rosy steps’

Wagner "Weiche, Wotan!" (Erda's Warning)

The English Concert - Handel Rodelinda 

“The other stand-out performance comes from the remarkable young contralto Jess Dandy, whose weighty but agile voice sounds tailor-made for the tricky role of Eduige.... It’s a treat to hear the part assigned to a true contralto rather than a mezzo (no disrespect to the great Janet Baker, who sang it opposite Joan Sutherland on Charles Farncombe’s vintage recording), and she’s a vivid singing actress, spitting poison in the virtuosic ‘De miei scherni’ and absolutely riveting in the Act Three dungeon-scene where she and Rodelinda fear their plan to spring Bertarido from the nick has fatally backfired.”

Katherine Cooper, Presto Classical

London Early Opera - Handel Caio Fabbricio 

“Jess Dandy impresses with her control of the virtuoso elements as well as her wonderfully rich contralto lower register.”

Robert Hugill, Planet Hugill 

  • ‘Jess Dandy as Bertarido’s sister Eduige with fruity low notes’

    The Sunday Times

  • ‘Eduige, sung by Jess Dandy with a bronze depth of tone.’

    Richard Wigmore, Gramophone

  • ‘The other stand-out performance comes from the remarkable young contralto Jess Dandy, whose weighty but agile voice sounds tailor-made for the tricky role of Eduige.... It’s a treat to hear the part assigned to a true contralto rather than a mezzo (no disrespect to the great Janet Baker, who sang it opposite Joan Sutherland on Charles Farncombe’s vintage recording), and she’s a vivid singing actress, spitting poison in the virtuosic ‘De miei scherni’ and absolutely riveting in the Act Three dungeon-scene where she and Rodelinda fear their plan to spring Bertarido from the nick has fatally backfired.’

    Katherine Cooper, Presto Classical

  • ‘In this Rodelinda, the contralto rôle of Bertarido’s sister Eduige, the target of Garibaldo’s treachery, is sung by Jess Dandy, whose refined vocalism recalls that of the esteemed Alfreda Hodgson. Dramatically, she is wholly on point, convincingly imparting concern and contempt. Her account of ‘De’ miei scherni per far le vendette’ in Act Two bristles with indignation, her vocal colorations shifting with the passions of the text. The aria in Act Three, ‘Quanto più fiera tempesta freme,’ is sung with irrepressible tenacity, this Eduige proclaiming that she is a pawn in no one’s game. The theatricality, integration of registers, and tastefulness of Dandy’s singing are delightful and promise still greater things.’

    Voix des Arts

  • ‘As the jilted Eduige, contralto Jess Dandy gives her bottom register a savage edge, and her runs explosive energy.’

    Berta Joncus, BBC Music Magazine

  • ‘Admirably firm’

    Richard Fairman, The Financial Times

  • ‘The chiming timbre of the contralto Jess Dandy (Eduige)’

    The Observer

  • ‘The casting, from top to bottom, couldn't be more perfect.’

    David Vickers, Gramophone

  • ‘Jess Dandy is a lovely Eduige’

    American Record Guide

  • ‘The other love interest is Eduige, a role taken by the contralto Jess Dandy who, being spurned, unleashes a well-supported chest register of some considerable theatrical impact.’

    Musicweb International

  • ‘Jess Dandy’s Eduige and Tim Mead’s Unulfo are also impressive in their roles and the only problem – if it really is a problem – is that Mead and Davies, who sing a lot together, are a little tricky to tell apart. Their timbres are similar. Ms Dandy’s fruity contralto is, however, very distinctly individual’

    Musicweb International

  • ‘Contralto Jess Dandy (Eduige) and countertenor Tim Mead (Unulfo) round out this excellent cast in equally fine style’

    Limelight

  • "Eduige is one of the characters who suffer as a result of Handel and Haym's compressions, so that though she develops she does so in a sketchy form. However, the role was written for real contralto voice and here suits Jessica Dandy to a tee. She brings out the character of each of her arias and makes the most of the frustrating little that the composer gives her, especially as the third aria is remarkably perky."

    Robert Hugill, Planet Hugill

Ariosti with La Serenissima from Caio Marzio Coriolano

Wigmore Hall 2021

Askonas Holt Interview

‘What inspires you as a performing artist?’

“I spent lockdown with my parents in my childhood home in Cumbria, and I regressed in a way – I enjoyed being a musical hermit for a while, following my nose, leafing through scores almost at random. Equally, I was very fortunate to have a lot of contact with various musicians online, and we started to explore the possibilities of virtual music-making…”