Praised for its “utmost security and power” (Chicago Tribune), Jessica’s voice has an unusual range, both in terms of colour and pitch, making it possible to perform repertoire across genres (from experimental to baroque, music theatre to opera) and voice types, from contralto works such as Boulez' Le Marteau sans maître to soprano gems like Grisey's Quatre chants pour franchir le seuil.
Jessica has performed as soloist with ensembles and opera houses as diverse as ICE (NY), the Melbourne, Sydney and Adelaide Symphony Orchestras, London Sinfonietta, Ensemble Modern, Ensemble Remix Casa da Musica, Staatsoper Hamburg, Wiener Volksoper, Nederlands Reisoper, Musikfabrik, Pinchgut Opera, Victorian Opera, Sydney Chamber Opera, and in the chamber series of the San Diego and Chicago Symphony Orchestras. She has sung in festivals around the world, including Klangspuren, cresc...!, Beethoven Festival Bonn, Resonant Bodies, Vivid Sydney, Aspen Music Festival, BIFEM, the Melbourne, Sydney and Adelaide Festivals, Darmstadt, Aldeburgh, Tectonics and Tanglewood.
Her operatic roles include Eve (Stockhausen’s Dienstag aus Licht), Aminta (Mozart’s Il re pastore), Donna Elvira (Don Giovanni), Sesto (Handel’s Guilio Cesare), Popova (Walton's The Bear), Rose (Elliot Carter's What Next?), Amore (Monteverdi’s L’incoronazione di Poppea) and Echo (Strauss’ Ariadne auf Naxos). She has performed the world premieres of operas by composers such as Laura Bowler (lead role in Houses Slide / Royal Festival Hall / dir. Katie Mitchell), and Dai Fujkura (lead role in Dream of Armageddon / New National Theatre Tokyo / dir. Lydia Steier).
Aszodi has twice been nominated for the Australian Greenroom Awards as ‘best female operatic performer’ - in both the leading and supporting categories.
In 2019 she was awarded “Performance of the Year” by the Australian Art Music Awards for Liza Lim’s epic “Atlas of the Sky” with Speak Percussion. She holds a Masters in Experimental Art from the University of California San Diego and a Doctorate of Musical Arts from the Queensland Conservatorium, where she focused on subjectivity and embodiment practices in the creation of new work. Jessica is also a writer and educator who has written scholarly articles for several books and journals.
