Eugene Onegin, Royal Danish Opera, 2023
Tatyana is exceptionally well drawn in a role debut from house singer Sofie Elkjær Jensen – back from maternity leave and only getting better, vocally and dramatically. Her head stuck in a novel until Onegin appears, she is the picture of youthful innocence in whom Romantic ideals are simmering unchecked. In the letter scene, Pelly’s giant tabletop folds upwards as if to encase her within the pages of a book. Unhappily married in Act III, she has retreated into literature once more but is now using it to nurture newfound dignity and reserve. Onegin rips a novel from her hands, throws it to the floor and kisses her desperately. Fiction has become real life. It is a moment of colossal dramatic power. …A fine company achievement and a rare endorsement of the ensemble system, with Jensen’s versatility, sensitivity and quality right at the top of it.
– Andrew Mellor, gramophone.co.uk
Sofie Elkjær Jensen alone is worth a trip to the Opera. I bet the composer (Mozart, red) would have had a crush on her.
– Berlingske Tidende
Sofie Elkjær Jensen lightend up the stage as Musetta.
– Klassisk
Sofie Elkjær Jensen sings Musetta with a beautiful voice, wonderful comic sense, especially in the scenes regarding love’s always teasing nature.
– Berlingske Tidende
The ultimative experience in Le Nozze di Figaro must be Sofie Elkjær Jensen, who is developing her voice season after season, and already now must be considered one of our generations sparkling stars.
– sceneblog
