Royal Opera, Covent Garden/Music Theatre Wales/Cottis | The Observer
"Designed by Nigel Lowery and conducted with fearless precision by Jessica Cottis, this production honoured the Irish composer’s extreme nonconformity. The London Sinfonietta’s virtuosity, and the cast’s miraculous achievements were, without exaggeration, phenomenal.”
Fiona Maddocks THE OBSERVER 29 Sept 2019
Royal Opera, Covent Garden/Music Theatre Wales/Cottis |The Times
"The tirelessly energetic cast are supported by heroic playing from the London Sinfonietta, superbly conducted by Jessica Cottis."
Richard Morrison THE TIMES 26 Sept 2019
Royal Opera, Covent Garden/Music Theatre Wales/Cottis | The Guardian
This witty production of Gerald Barry’s demanding opera about a composer with writer’s block features fine singing and playing. The cast does a fine job with some incredibly demanding music. Jessica Cottis conducts with absolute security, and the London Sinfonietta plays brilliantly.
Erica Jeal THE GUARDIAN 26 Sept 2019
Royal Opera, Covent Garden/Music Theatre Wales/Cottis | The Sunday Times
Jessica Cottis and members of the London Sinfonietta deserve medals for their conducting and playing.
Hugh Canning THE TIMES 6 October 2019
Sydney Symphony/Cottis | Daily Telegraph, Australia
"The concert marked the popular return of Australian-British conductor Jessica Cottis, who was assistant to Vladimir Ashkenazy with the SSO from 2012-2014. There are few more stirring ways to start a program than the work she chose, Sibelius’s tried and trusted patriotic tone poem Finlandia. From the opening snarling brass to the noble broad anthem and the final gathering energy racing towards hoped-for independence, it’s a bracing ride and Cottis proved a thrilling driver, tight and concise with expansive gestures and happy to take risks.
The same was the case with the final work, Carl Nielsen’s massive fourth symphony, The Inextinguishable, composed at the outbreak of World War I. This is an incredibly powerful, organic work which grows to an almost unbearable climax when two sets of kettle drums battle with each other like opposing artillery units and the huge string section finally answers with the “inextinguishable” force of life — and music — which overcomes all."
Steve Moffat DAILY TELEGRAPH 13 May 2019
LA Philharmonic/Cottis | Variety
The Phil, energetically led by Australian conductor Jessica Cottis, brought life and heft to Kubrick’s inspired mixtape of classical repertoire — from the majesty of “Also sprach Zarathustra” to the triumphant strains of Beethoven’s Ninth.
Tim Greiving VARIETY 25 November 2018
Norrlandsoperans symfoniorkester / Cottis | Västerbottens-Kuriren, Sweden
Saturday's magnificent performance by Johannes Brahms Ein Deutsches Requiem became for me one of the big musical events of the year. With absolutely the right temperament for this kind of music and a fine conducting technique, Jessica Cottis took care of every note. With authority and the clarity of sunlight, she lifted the orchestra to immense heights.
Bengt Hultman, VÄSTERBOTTENS-KURIREN 17 November 2019
BBC Proms/Royal Philharmonic Orchestra/Cottis | Classical Source
Respighi’s ‘Pines of Rome' closed the concert, Jessica Cottis drawing electric performances, as throughout, from the RPO.
Amanda-Jane Doran CLASSICAL SOURCE 25 July 2017
l'Orchestra Sinfonica Giuseppe Verdi di Milano/Cottis | Rolling Stone
"The director was the extraordinary Jessica Cottis, Anglo-Australian conductor, who last night led the orchestra as a queen. Full of energy and verve, Cottis was repeatedly able to tear applause even in the middle of scenes."
Claudio Biazzetti ROLLING STONE MAGAZINE 27 April 2017
Royal Opera House/Cottis | The Times
“superbly delivered by the Aurora Orchestra under Jessica Cottis’s direction”
Richard Morrison THE TIMES 22 Feb 2019
Royal Opera House/Cottis | The Telegraph
“Jessica Cottis conducts the Aurora Orchestra with aplomb.”
Rupert Christiansen THE TELEGRAPH 22 Feb 2019
Royal Opera House/Cottis | Financial Times
“strikingly brought to life by the Aurora Orchestra conducted by Jessica Cottis”
Richard Fairman FINANCIAL TIMES 23 Feb 2019
Royal Opera House/Cottis | The Sunday Times
"impressively conducted by Jessica Cottis with the Aurora Orchestra"
Paul Driver THE SUNDAY TIMES 3 March 2019
Royal Opera House/Cottis | The Arts Desk
“Jessica Cottis directs members of the Aurora Orchestra with incisive clarity, deploying her forces strategically, always mindful of the singers who must project Simon’s text without the help of surtitles. It’s no small praise to say that you hardly lose a word.”
Alexandra Coghlan THE ARTS DESK 23 Feb 2019
Canberra Symphony Orchestra/Cottis | Limelight
Cottis was an inspired choice. The orchestra responded brilliantly to her conducting style, which at one minute was fluid and expressive, and, at another, animated and explosive, and everything in between.
Clinton White LIMELIGHT 20 May 2019
BBC Proms/BBC Concert Orchestra/Cottis | Bachtrack, UK
"The performances themselves were a triumph, Jessica Cottis and the BBC Concert Orchestra tripping chameleon-like through a programme of musical costume-changes. Their pièce de résistance was a showstoppingly controlled and majestic Also sprach Zarathustra. Cottis dived in with equal aplomb to the interaction-with-the-presenters aspect of her job description, displaying a naturalness and confidence worlds away from the usual duck-out-of-water awkwardness we've come to brace ourselves for from conductors at such events."
Charlotte Gardner BACHTRACK 30 August 2016
Chelsea Opera Group/Cottis | The Times
Borodin's Prince Igor: "Conducted with style, clarity and energy by Jessica Cottis."
Anna Picard THE TIMES 24 October 2016
Sydney Symphony Orchestra/Cottis | Sydney Morning Herald
"Precision, energy and elegance. Most impressive was the finale where Cottis chose a speed that highlighted Mozart's breathtaking plenitude of invention with exhilarating delight. We will hear more of her welcome talent."
Peter McCallum SYDNEY MORNING HERALD 2 Sept 2013
Malmö Symphony Orchestra/Cottis | Sydsvenska Dagbladet
An enlightened performance of the Sibelius, Nordic in tone, transparent in sound, and easy in step. At the same time, the audience were pulled into something quietly profound: it was as though the music was surrounded by a natural yet mystical fog. One clearly recognised the presence of something quite unconventional, as though a spirit was peeking out through the shadowy depths of the forest.
Even in Grieg's Holberg Suite, the Australian-English conductor Jessica Cottis brought light and lyricism. The MSO's string section were playful, as though in fine costumes and long dresses, but with all the seams beautifully well hidden.
Matti Edén SYDSVENSKA DAGBLADET 17 Nov 2017
Orchestra of Opera North/Cottis | Reviews Hub
The first half was devoted to opera, beginning and ending with two great overtures, Glinka’s exhilarating Ruslan and Lyudmila, and Cottis’ thrilling account of Verdi’s La Forza del Destino, a terrifying explosion of power.
Ron Simpson REVIEWS HUB 2 August 2017
Västerås Sinfonietta/Cottis | Vestmanlands Läns Tidning, Sweden
Conductor Jessica Cottis led a performance which was extraordinarily exciting; luminous and full of vitality. Her communication with the Sinfonietta was immediate and worked like a charm.
Birgit Ahlberg-Hyse VESTMANLANDS LÄNS TIDNING 26th Jan 2018
Scottish Opera/Cottis | The Independent, UK
"Conductor Jessica Cottis nailed the seediness and suavity of Weill's Seven Deadly Sins for Scottish Opera."
Anna Picard THE INDEPENDENT 18 Dec 2011
Scottish Opera/Company Chordelia/Cottis | The Times, UK
"In the pit, Jessica Cottis coaxed a rich, sharp and sleazy sound from the Orchestra of Scottish Opera. Do not miss."
Sarah Urwin Jones THE TIMES 22 Aug 2013
Tucson Symphony/Cottis | Arizona Daily Star
What terrific music Cottis made with the TSO. From the opening Thomas Adés work to Cottis’s spirited take on the Mozart, Friday’s concert was a great way to kick off 2018. Adés's “Three Studies” is a marvelous reimagining of a trio of the Baroque composer’s works. When Cottis brought it all together, the effect was sublime, and beneath the subtle dissonance, Couperin’s original Baroque sound shined.
If there were any American classical music talent managers in the audience, we’re confident her concerts will be the first of many U.S. podium appearances. Cottis turned in a spirited performance. Expressive and energetic, she had the symphony rocking to Mozart’s playful and exuberant Symphony 29. She brought out Mozart’s wonderful colors and emotions and accentuated the composer’s spirit with so much enthusiasm you couldn’t help but get lost in her performance.
Cathalena E. Burch ARIZONA DAILY STAR 6 Jan 2018
Trinity Laban Conservatoire of Music and Dance/Cottis | Opera Magazine
"[In the premiere of Stephen McNeff's opera 'Banished'] Jessica Cottis's musical direction was as inspirational as it was exact, ensemble between stage and orchestra rock-solid."
Christopher Webber OPERA September 2016
London Philharmonic Orchestra/Cottis | The Times, UK
"In Sir Peter Maxwell Davies’s A Wall of Music, set to a new Jo Sharpcott poem, the large children’s choir conducted by the gifted Jessica Cottis brought joy."
Geoff Brown THE TIMES 19 March 2014
Scottish Opera/Cottis | The Independent on Sunday, UK
"Under Jessica Cottis, Scottish Opera's orchestra sounded taut, slippery and glamorous."
Anna Picard THE INDEPENDENT ON SUNDAY 04 Sept 2011
Sydney Symphony Orchestra/Cottis | Sydney Morning Herald
"The concert's American frontier theme had been established earlier with the Suite from Aaron Copland's ballet Billy the Kid, which Jessica Cottis conducted with sprightly alertness and impressive focus. Her developing career continues to inspire."
Peter McCallum SYDNEY MORNING HERALD 28 August 2015
Brisbane Baroque/Cottis | Limelight Magazine, Australia
"Cottis led the Queensland Symphony Orchestra in considerable style, her every gesture sparking with energy. Conducting sans baton, her highly watchable physicality on the podium drew some finely crafted results, whether intent on unravelling Bach’s complex textures or conjuring some high-voltage playing and singing with an almost palpable strength of will."
Clive Paget LIMELIGHT MAGAZINE 10 April 2016
Dunedin Symphony Orchestra/Cottis | Dunedin Star, NZ
"Under the baton of charismatic conductor Jessica Cottis, the concert’s second half was dominated by Bruckner’s massive Symphony no. 4 in E-flat major: at 70 minutes in length the time passed unnoticed, as Bruckner’s masterpiece unfolded under Cottis’ expert hand, transporting the listener from medieval hunting calls in dappled glades to glittering dance."
Brenda Harwood THE DUNEDIN STAR 19 August 2016
Canberra Symphony Orchestra/Cottis | City news Australia
"Guest conductor Jessica Cottis had superb control of the orchestra. Her highly expressive hands drew a great deal of lyricism from all sections, enhancing the bird calls beautifully, and evocative of the serenity, even loneliness, of the planet’s remotest climes."
Clinton White CITY NEWS 29 March 2017
BBC SSO/Cottis | The Scotsman, Scotland
"There are almost no women conductors in senior posts in British orchestras, and Cottis is billed as one to watch. Seen in action, she is energetic and charismatic – alternately stern and smiling with the players, frowning or mouthing out the expressions, flying her long hands like birds – almost playing a silent instrument herself."
Tim Cornwell THE SCOTSMAN 09 Feb 2012
Red Note Ensemble/Cottis | Seen and Heard International
Jessica Cottis brought life and humanity to the performance. In her hands, Red Note Ensemble treated Glass’s music with a kind of intensity, swing and pulse. The sounds that came forth from Cottis and the orchestra were charged and hallucinogenic."
Laurence Vittes SEEN & HEARD INTERNATIONAL 19 Sept 2011
Bit20 Ensemble/Cottis | Bergens Tidende, Norway
"Under the leadership of Jessica Cottis, Bit20 Ensemble delivered powerful and precise performances of these two contemporary pieces of music. Cottis was fascinating: she combines a cool head with a warm heart; leading us safely through the throes between acoustic and electronic worlds. World-class."
Annabel Guaita BERGENS TIDENDE 15 March 2015
Sydney Symphony Orchestra/Cottis | Artshub, Australia
"Cottis certainly got, for instance, a wonderful sound out of the brass, which made the Magic Flute overture shine, as well as a great sense of pace and sizzle from the strings. A good test for an overture is whether you want to see the opera after the concert has finished, and such was the case with this."
Tomas Boot ARTSHUB 2 Sept 2013
Brisbane Baroque/Cottis | Weekend Notes, Australia
"Jessica Cottis is a mesmerizing presence as a conductor. No baton is used nor needed, and such was her hypnotic effect that the reviewer was left with the impression that her hands were both significantly more pliable than the average mortal's. Suffice it to say that her idiosyncratic manner achieved excellent outcomes from orchestra, choir and soloists."
John Andrew WEEKEND NOTES, QLD 9 April 2016
Will anyone be able to follow Sir Colin Davis? | The Independent, UK
"The next generation: Jessica Cottis. Her name may ring bells thanks to her appearance as DJ Trevor Nelson's mentor in the BBC series Maestro at the Opera. Cottis is the sole female on this list of young conductors, and also the only one not to have attended either Oxford or Cambridge. This trend-breaking tendency is reflected in her musical repertoire – she is increasingly well-known as a conductor of new and contemporary music."
Miranda Kiek THE INDEPENDENT 19 April 2013
Peter McCallum looks back on 2013's rich offerings | Sydney Morning Herald, Australia
"The Sydney Symphony Orchestra's Verdi and Wagner contributions (the Requiem and a concert performance of The Flying Dutchman respectively) under its chief conductor-elect David Robertson were auspicious, as were impressive concerts under young conductor Jessica Cottis."
Peter McCallum SYDNEY MORNING HERALD 23 Dec 2013
Red Note Ensemble/Cottis | The Herald, Scotland
"An electrifying performance, amazingly sustained by Jessica Cottis."
Michael Tumelty THE HERALD 22 April 2010
BBC SSO/Les percussions de Strasbourg/Schick/Cottis | The Herald, Scotland
"The BBC and Glasgow’s Concert Halls hosted an ambitious collaboration, staging the world premiere of Dillon’s Nine Rivers as a complete cycle. Meticulously conducted by Steven Schick and Jessica Cottis, the ambition certainly paid off – the four-hour marathon was spectacular. Players from the BBC SSO partnered with the virtuosic Strasbourg Percussion Ensemble and The BBC Singers to deliver technically demanding music that seemed effortless and atmospheric. 'L’ECRAN parfum' stood out with its close harmonies and hymn-like counterpart swelling and reverberating through the hall."
Catherine Robb THE HERALD 16 Nov 2010
RSAMD Symphony Orchestra/Cottis | The Herald, Scotland
"Arutiunian’s Trumpet Concerto, conducted with the pristine clarity and dynamism which are beginning to be associated with the RSAMD’s conducting fellow Jessica Cottis, hugely appealing and disarmingly eclectic in its style, plunging unselfconsciously into Borodin’s exotic sound world more than once."
Michael Tumelty THE HERALD 21 June 2010
INTERVIEW: Pointing the way to a musical success story | The Herald, Scotland
"Runnicles describes her as his “extra ears” in the hall. Her name is Jessica Cottis. She is a young Glasgow-based conductor, and graduated from college only four months ago. By any standards that would be a remarkable achievement and opportunity: four months out of school and you’re off to Germany to work at the Berlin Phil. But Cottis, a cool, contained, super-articulate and engaging young Australian-born musician, is already racking up significant achievements... Whatever way you turn it, Cottis is a young lady going places fast."
Michael Tumelty THE HERALD 8 Dec 2010