R e v i e w s

August 2018 Neville Cohn Oz Arts Review

‘There was an almost palpable air of anticipation before the start of Mozart’s Jupiter Symphony, his 41st and last essay in the genre. With Jessica Gethin in top form directing proceedings from the podium, the work unfolded in exemplary fashion. There was a fine balance of power and grace in the opening allegro vivace. The andante cantabile was beautifully considered with as much focus on detail as on conveying the overall sweep of the movement. And the playing in the minuet was an essay in graceful strength with a frankly delightful buoyancy of both mood and momentum. The finale brought joyous energy in abundance as it flashed and glittered with fine detail’.


August 2018 Jasmine Middleton, Cut Common (Mozart Jupiter symphony)

‘The outward, pure enjoyment that the PSO musicians exuded must have been infectious as, by the last C major cadence closing the piece, the whole audience was beaming’.


October 2018 X Press Magazine review

‘While atop her podium, waving, hooking, slashing and poking her baton like a wizard casting spells to summon the heavenly, and sometimes slightly more demonic, sounds of the orchestra, Gethin was a performance on her own. Oozing elegance and grace throughout …. she looked like a force to be reckoned with’


June 2018 Cut Common article ‘7 Female Conductors you should know about’

‘Jessica Gethin wields power at the podium. As one of the Top 100 Most Influential Women listed by the Australian Financial Review, she is the Perth Symphony Orchestra’s chief conductor and one of the leading lights in the Australian music industry. Starting out as a classical violinist, Jessica was the concertmaster of her conservatorium orchestra during her Bachelor of Music. But she grew intrigued by the conductor’s role, and soon fell under the spell of the baton. She undertook the Symphony Australia Conductor Development Program, which saw her win a scholarship to study under internationally renowned conductors. Jessica has won accolades from the Winston Churchill Fellowship in 2015 to her 2016 nomination for Limelight Magazine’s Top 20 Australian Artists. In 2018, she was awarded the prestigious Bendat Award from the West Australian Opera. Her schedule for 2018 involves crossing three continents from Australasia to America to bring her musicianship to opera, rock ‘n’ roll, dance and film music’


Oct 2018 Malaysia Philharmonic Symphony for our World review

‘Jessica Gethin’s conducting was lithe and exuberant, and the choir gave everything a more gargantuan pacing and atmosphere that pierces through even the simplest of scenes ‘


August 2018 Auckland New Zealand Ambient Light (Michael Bolton Symphony Tour)

The performance was made even more special with the inclusion of the Auckland Philharmonia Orchestra, gracefully conducted tonight by Jessica Gethin, who added an extra dimension to the timeless songs.


August 2017 William Yeoman The West Australian ‘Strings Soar in Collective’

‘Conducted by Jessica Gethin and led by violinist Paul Wright, the Perth Chamber Orchestra strings positively danced their way through a perfectly curated program of miniature romantic masterpieces. The Sutherland received the performance it deserved, with Gethin bringing out the gorgeous, sometimes piquant cantabile quality of the part-writing to perfection. The other highlight was the Tchaikovsky, even in excerpt arguably the best work on the program. Here the PCO played with a precision and vitality equal to any other string band, anywhere. This was an exhilarating, rhetorically astute performance that will stay long in the memory’.


June 2017 Limelight Australia Ros Appleby (Mozart at Midland)

‘The programme moved into eerie territory with Schnittke’s Moz-Art á la Haydn, conducted by Jessica Gethin … Schnittke’s montage of Haydn and Mozart quotes mashed with discordant harmonies was the perfect soundscape for the building. Two movements from Shostakovich’s String Quartet No 8 arranged for string orchestra, followed on beautifully. Gethin drew out an intensely melancholic Largo and the Allegro molto movement had a visceral energy’


Oct 2017 Cut Common Review

‘Conductor Jessica Gethin guided the orchestra with an instinctive and natural command of the score, and with the presence of an actual rock star. You would think that someone waving their arms at other people on stage would be somewhat antithetical to the ideas of rock and grunge music, but Gethin’s conducting didn’t feel out of place at all. Rather, she channelled the essence of the music with conviction and spirit’.


Dec 2015 Theatre Jones - Dallas Opera Review

‘Australian conductor Jessica Gethin showed her considerable experience from the first downbeat. She was fortunately paired with the remarkable young tenor Alasdair Kent in an aria from Handel’s Semele’. 



2016 The West Australian Newspaper (Beethoven Symphony 7 – won ‘Best of the West’)

‘This was one of the most exciting and moving performances of Beethoven’s Seventh Symphony I’ve ever had the pleasure of hearing; swift, crisp and shapely, with plenty of colour and nuance… In the famous second movement especially, conductor Jessica Gethin controlled the ebb and flow of tension with goosebump-inducing artistry…. the standing ovation that followed was more than deserved’


December 2013 Artshub review

‘Conductor Jessica Gethin drew music of aching beauty from the orchestra, the opening bars combining with a yearning phrase of violas and 'celli, these two figures interweaving and finally, expanding to include the full orchestra, the movement ending with rapturous sigh of the violins.... the woodwind brought some pause, in further contrast to the dominant whirling rhythms, before the tutti led to an exhilarating conclusion and the capacity audience to its feet’.


March 2013 Australian Artshub Review 

‘Perth Symphony Orchestra has gained a reputation for great playing under the baton of Jessica Gethin, a consummate musician who knows how to get the best out of her players.... Gethin’s conducting is superb. She is energetic to the nth degree, but not a skerrick of that energy is wasted. And the orchestra responds with dedication and sheer hard work. After all, if the person up front is giving their all, what can the troops do but offer the same... This combination has resulted in a fine program that showed the performers’ versatility, enthusiasm and sheer talent. All three were evident from the opening bars of Bernstein’s Overture to Candide. The constantly changing time signatures in this piece raise its level of difficulty, but they were handled with aplomb.... The original score (Love Actually) was provided by the composer, Craig Armstrong, and his trust was not ill-founded. Gethin and her players did his work proud’


December 2012 West Australian Review

‘As ever, Vienna Pops went on well-oiled wheels. Jessica Gethin (conductor), presiding over events, coaxed first-rate responses from her forces, not least in Schubert's Rosamunde overture, a delightful curtain-raiser.....A delightful arrangement for flute, oboe and orchestra of a Mozart aria brought the house down. As ever, I Voci Singers (choir) performed beautifully. In fact, in years, I cannot recall hearing them to better advantage’.


November 2011 Artshub review

‘The star of the evening was undoubtedly the gifted conductor, Jessica Gethin... Gethin conducts like there’s no tomorrow. Like a well-trained dancer, she moves her arms not from the shoulder but from the spine. Her movements are graceful and refined, with no waste of energy, and she seems to relate to every player as an individual. She drew some truly elegant playing, turning them into the makings of a fine orchestra’.


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