ROLES

Refer to the Opera Australia company website for roles (2012-current).

TRAINING

Born in Sydney, Jane holds a Bachelor of Creative Arts from Wollongong University with a double major of Music and Acting, and a Diploma of Opera from the Sydney Conservatorium.

Jane was twice a finalist in the McDonalds Operatic Aria, as well as a finalist in the Opera Foundation’s New York Study Award, Covent Garden Scholarship and the Metropolitan Opera Award. In 2009 she won the inaugural Moffatt Oxenbould Young Artist Competition to join the Opera Australia Young Artist program in 2010.

AWARDS

Jane won the inaugural Opera Australia Young Artist Competition, has been nominated for three Green Room Awards for opera for her portrayals of Fiordiligi, Alice Ford and Frasquita and has twice been mentioned in Paul Selar’s Operachaser Awards for ‘Outstanding Female in a Supporting Role’ for her performances of Musetta and the Countess.

REVIEWS

Arts media coverage includes:

The Sydney Morning Herald , The SMH/Age , Artshub , ABR Arts , Herald Sun , Limelight , Daily Review , Bachtrack

Fiordiligi in Cosi Fan Tutte:

“Jane Ede makes a most impressive role debut as Fiordiligi. Her expressive face conveying a myriad of swirling emotions, Ede embraces the realism of the role, delivering lovely singing from her very first note. Exquisitely sung, Fiordiligi’s act two aria “Per pietà, ben mio, perdona” is arguably the emotional highpoint of the evening, bolstered by Ede’s highly personal connection with the audience.”
Simon Parris, Man in Chair

“Jane Ede’s Fiordiligi was ravishing, tackling Mozart’s fiendishly difficult plunges from the upper coloratura to the very lowest register with ease and confidence. She brought her character completely to life, drew frequent laughter and created a fully-rounded portrait.”
Gregory Pritchard, Concerto.net

Musetta in La Boheme:

‘Jane Ede’s Musetta was classic fire and ice, and she showed extraordinary poise during her spotlit rendition of “Quando me'n vo” while carrying out considerable stage business. Ede flirted with other cast members while negotiating the revolving stage, yet her soprano was majestic and expressive. The feisty, amorous chemistry between Ede and Christopher Tonkin’s Marcello was convincing.’
Bachtrack- Patricia Maunder

“It also introduces us to Musetta (Jane Ede), in full Marlene Dietrich mode. Ede, in this role, and in this scene, is exceptional as the seductive, outrageously audacious star of such a Berlin cabaret.”
Cyril Jones, Classic Melbourne

‘Speaking of big arias, seasoned OA performer Jane Ede takes on the Sally Bowles role of Musetta for the first time. Her show-stopping act two waltz (Quando me’n vo) is beguiling and her tempestuous performance terrific. It’s nice to see her in the spotlight.’ Jason Whittaker, Daily Review
‘Jane Ede (Musetta) stole nearly every scene in which she was involved.’
Barney Zwartz, The Age/Sydney Morning Herald

Countess in Le Nozze di Figaro:

‘Jane Ede …was a revelation as the Countess. 'Porgi amor', which introduces the Countess in Act II, exposes any technical weakness, but there was none here or in 'Dove sono' in the following Act. Desolate and humiliated, the Countess can be a rigid character, but Ede brought a kind of black humour and requisite disdain to this neglected aristocrat, and her entrance at the end, after the ruse, was dramatic. Ede and Fiebig's refined singing in the Letter Duet was perhaps the highlight of the evening’
Peter Rose, Australianbookreview.com

‘Further proving herself a significant and, perhaps, underappreciated talent, soprano Jane Ede deftly conveys the vulnerable humanity of the Countess and sings the role with silvery sweetness. Melancholic lament “Dove sono i bei momenti” is a lovely moment, as is the all too brief letter duet with Susanna, “Sull’aria…che soave zeffiretto.”’
Simon Parris, simonparrismaninchair.com

Donna Elvira in Don Giovanni:

‘Jane Ede brings strength and pathos to Donna Elvira — in Mi Tradi, quell’alma ingrate her subdued melancholy suggests someone humiliated by her enthralment, and all the more so as she never presents like a victim. (At the end her resolve to join a convent seems a waste)’
Owen Richardson, Daily Review

‘Jane Ede’s Donna Elvira was warm and nuanced, notably in the gracious lines of Donna Elvira’s final humiliation in Act 2, Mi tradi quell’alma ingrata.’
Peter McCallum, SMH

‘As Donna Elvira,  Jane Ede gave a finely nuanced performance that was meticulous, from when we first see her in disguise as a man to her last attempts to return to and try and save Don Giovanni. Her ‘Mi tradi quell’alma ingrate’ in Act 2 was poignant and luminous.’
Lynne Lancaster, Sydney Arts Guide

“Don Giovanni’s female victims are also outstanding. A remarkable presence is fellow Australian soprano Jane Ede as Donna Elvira, the woman hopelessly enamoured who returns to him again and again, and is cruelly tricked into believing he’s remorseful about deserting her.”
Sue Williams, Daily Telegraph

Alice Ford in Falstaff:

‘Jane Ede is a marvellous Alice Ford, her towering presence complementing her beautiful top notes, a lovely soprano with a finely tuned sense of comedy.’
Coral Drouyn, Stage Whispers

As Mistress Ford, Jane Ede gave a vocally and dramatically strong performance; highlighting the wit of the role…she accentuated the positive qualities of the character. ‘
Heather Leviston, Classic Melbourne

‘Jane Ede’s bell-like soprano is used to lovely effect as Alice Ford, her height adding an extra touch of authority to her portrayal. As they flit about the stage like the fairies from Sleeping Beauty, Ede, Matthews and Dark work together with palpable warmth and camaraderie.’
Simon Parris, Simonparrismaninchair.com

Adina in L’Elisir d’amore:

‘This made Jane Ede's appearance in the principal role of Adina … all the more impressive. Not only did she manage the slapstick dance so as never to be on the wrong side of a cow, but her singing was bright, confident and airborne when it needed to be and the stage presence was engaging.’
Peter McCallum, Sydney Morning Herald

‘As the bookish Adina, Jane Ede… is charming. She makes a character that can come across as flighty and thoughtless into a clever, warm-hearted soul, and sings with a lovely clear, bright soprano, easily on top of the role’s vocal demands. ‘
Clive Paget, Limelight

‘… Jane Ede stepped-up. She sang with complete self-assurance, her tone diamond-like and powerful.’
Lloyd Bradford Syke, Crikey

‘Ede was a very accomplished Adina, flirtatious, haughty, caring, funny – and singing beautifully, no mean achievement considering this was the first time she had ever performed the second act.
Carol Wimmer, Stage Whispers


Lady Billows in Albert Herring:

‘As the domineeringly snooty Lady Billows, Ede used her agile soprano to good effect as she berated the townsfolk for their lack of morals and poured withering scorn on anyone who stood in her way.’
Tom Pillans, Manly Daily

‘Ede’s Lady Billows is suitably uptight, scowling and hilarious. Ede sounds fantastic (despite having a cold herself) and she has a physical presence that almost makes you forget the fact that she’s far too young for the role. ‘
Benjamin Neutze, Aussietheatre.com

‘The other opening night ‘stand-in’ was Jane Ede as Albert’s nemesis, the tyrannical Lady Billows. It’s a fine soprano voice with a good strong bottom when required and she rides the orchestra well.’
Clive Paget, Limelight

‘Jane Ede was wonderfully haughty as the prudish Lady Billows, and was in fine voice ‘
David Larkin, Bachtrack

Helena in A Midsummer Night’s Dream:

"I particularly enjoyed Jane Ede as Helena. Awkwardly philosophical and hopelessly love struck, her beautiful soprano cascaded effortlessly through from top to bottom, providing a magnificent contrast to the rough and ready physicality of her character."
Michelle Bull, XS Entertainment