As The Countess (Photo: Tim Matheson)

As The Countess (Photo: Tim Matheson)

Fifth Maidservant in Elektra San Francisco Opera

"Rhoslyn Jones stands out as the compassionate Fifth Maidservant, singing in a shimmering, ringing soprano."

-Ilana Walder-Biesanz, Bachtrack


Soprano Soloist in Faure's Requiem, with Silicon Valley Symphony

"Rhoslyn Jones sang with great solemnity and tenderness."

-Elijah Ho, San Jose Mercury News


Soprano Soloist in Beethoven's Symphony No. 9, with Anchorage Symphony Orchestra

"Jones’ voice was both enormous and dead-on with respect to the treacherous high notes. She’s the type of singer who needs to come back if ASO ever decides to try Mahler’s Symphony of a Thousand."

-Mike Dunham, Alaska Dispatch News


The Countess in Le Nozze di Figaro, with Vancouver Opera

“The delicious diva: While all of Marriage’s performers are talented, the real star of this production is soprano Rhoslyn Jones, who plays the Countess. Hailing from Aldergrove, B.C., Jones has an unforgettably powerful voice that captivates from the very first moment she opens her mouth.

As the long-suffering Countess, her portrayal of a wife lamenting her husband’s wandering eye is both genuine and touching, yet never cliché. Jones imparts to the Countess a grace and dignity that prevents her from descending into the mould of the stereotypical wronged woman, and `that allow her to become a relatable individual for a modern audience. Jones is a joy to watch and reason alone to see the show.”
— Kristen McKenzie, 24 Hours News Vancouver

“Rhoslyn Jones of Aldergrove, with her luscious, rich soprano, brings to life both the Countess’s strength and vulnerability.”
— Julie MacLellan, Burnaby Now

“Soprano Rhoslyn Jones, as the countess, brings all the silliness to a halt with her arias—full, rounded, and flooded with heartbreak, especially her lament about her philandering husband, “Porgi, amor, qualche ristoro”.”
— Janet Smith, The Georgia Straight

“There were standouts to be sure, particularly Calgary's Daniel Okulitch as Figaro, together with Abbotsford's Aaron St. Clair Nicholson and Aldergrove's Rhoslyn Jones as the Count and Countess. One might have awarded the trio the three stars of the evening, but it wouldn't have been fair. Everyone was on their game for this performance. With not a weak spot on the roster, all contributed to make the production seem not only fun but effortless — perhaps just what Mozart intended.”
— David Tracey, The Tyee


As Musetta (Photo: Tim Fuller)

As Musetta (Photo: Tim Fuller)

Musetta in La Boheme, with Arizona Opera

“Soprano Rhoslyn Jones had several scene-stealing moments, but her true genius vocally came through in the final scene when she reunites the near-death Mimi with Rodolfo. Her voice was powerful and nuanced, particularly in the upper register, but it was the sheer humanity she brought to the scene that earned her the audience's resounding applause. She went from flightly, flirty party girl to this sympathetic, heart-beating-loudly human being that you wanted to hug and assure that everything would be OK.”
— Cathalena E. Burch, Arizona Daily Star

”Rhoslyn Jones sang a great Musetta.”
— Richard Nilsen, The Arizona Republic

“Fellow soprano Rhoslyn Jones plays opposite Alvarez in the role of Musetta, a character not nearly as sympathetic as Mimi. In fact, Musetta is in many ways the opposite of Mimi - outgoing, brash, not afraid to be the center of attention.

Jones has sung Musetta several times in her fledgling career - she and Alvarez got their starts about the same time - and has become comfortable in the role.”
— Cathalena E. Burch, Arizona Daily Star

“The production of this everybody’s-favorite brought a resounding ovation at the Sunday matinee featuring Gaston Rivero as Rodolfo, Elaine Alvarez as Mimi and Rhoslyn Jones as Musetta…
Jones gave an unusually lustful Musetta with no excuses.

Actually she was outrageous, but not beyond the limits of the character, throwing one leg over the banister of the stairway and pouring champagne on Marcello’s bald pate, daring the on-stage characters and the audience to deny her. They did not.

Jones has a beautiful, rich soprano that must have served her and her audience beautifully in a recent “Eugene Onegin.”
— Donald Behnke, Green Valley News and Sun


As Tatyana (Photo: Tim Matheson)

As Tatyana (Photo: Tim Matheson)

Tatyana in Eugene OneginVancouver Opera

“The big surprise was the assurance that the young Canadian soprano Rhoslyn Jones, in her VO debut and clearly on the verge of a major career, brought to the role of Tatyana. From naïve country girl pouring out her heart's first love to Onegin to mature socialite of Act II, Jones was vocally and theatrically impressive.”
— Robert Jordan, Opera Canada

“Abbostford-born soprano Rhoslyn Jones has a sweet and effortlessly mellifluous the crucial early "Letter" scene, where she recklessly decides to reveal her true feelings for Onegin, her outpour of girlish fear and excitement is spot on."
— Janet Smith, The Georgia Straight


Early Career Promise

Almost Famous: Meet tomorrow's bright lights

It's just a matter of time before these talented British Columbians break through to the big time. You may not know their names yet...but you will. We turn the spotlight on these stars of tomorrow.

At this year's Metropolitan Opera Auditions in New York, she tied for first place, singing Tatyana's Letter aria. Voice teacher David Meek describes her as "a big, lyric, spinto voice. She's going to have a really big career." 
— Lloyd Dykk, Vancouver Sun

“Some of the program’s high points was the show-stopping ‘Ode to the Moon’ from Rusalka, portrayed by the superb singer and artistic presence Rhoslyn Jones. Her voice is luscious, and her soul opens forthrightly and generously to the audience.”
— Olivia Stapp, San Francisco Classical Voice