In his spoken introduction Stefan Cassomenos proposed that the performance “would take us to other worlds, even universes”. How true! The remarkable team of soprano Judith Dodsworth and Peter de Jager interpreted six songs that addressed death as both frightening and soothing. Dodsworth was masterly in voice and demeanour, fixing us at times with scary open-eyed stares, swathed in black, but also gentle and reverential, as in Dark mother always gliding near. Her wordless vocalised interludes resurrected ancient feelings of dread and mystery most effectively…A tour de force from both artists!

Bruce McRae, Classic Melbourne: Apparition (George Crumb), Port Fairy Spring Music Festival 2025

This absorbing performance of Is this the gate was a world premiere, and Adelaide was privileged to host it. The excellent ensemble comprised Judith Dodsworth, voice, Elizabeth Layton and Helen Ayres, violins, Stephen King, viola, Thomas Marlin, cello, Matthew Kneale, bassoon, and Michael Ierace, piano… Soprano Judith Dodsworth was magnificent as the troubled Costello.

Chris Reid, The Barefoot Review: Is this the gate, Adelaide Festival 2024

Jörg Widmann’s Schwester Tod (Sister Death) was received with rapturous applause by the audience. But I am willing to wager that many in the audience would have immediately switched it off if it came on their radios or given up on it after a few seconds if they found it on YouTube. From a conventional point of view much of it could be described an unpleasant noise, but watching this performance by soprano Judith Dodsworth, cellist and sometime vocalist Coleman Itzkoff, pianist Stefan Cassomenos and accordionist James Crabb, it was utterly compelling in a way that no recording or video could be. A kind of gender-reversed Orpheus and Eurydice story, this chamber-music adaptation from the opera Babylon, oscillates between different musical styles as often as its tone turns from serious to comic. It’s madcap, confounding, and in this stunning performance, absolutely engrossing.

The famous Erbarme dich, mein Gott, from the St Matthew Passion, was beautifully sung by Judith Dodsworth.

Stephen Whittington, The Advertiser: UKARIA 24, 2023

Outi Tarkiainen’s song cycle Naarasäiti (The Lustful Mother) really stole the show in the opening concert of this year’s Chamber Landscapes. Soprano Judith Dodsworth captured the work’s emotional intensity, with exceptional tonal range and technical control from all performers.

The Saturday night concert was a beautiful exploration of tone colour. Boulez’s landmark 1955 work Le Marteau Sans Maître evokes an expansive sonic world through its extremely effective use of percussion and instrumental timbres. The fiendish challenges of this piece were met not only with precision but with a wonderful range of expression by this ensemble.

Melanie Walters, The Advertiser: UKARIA Chamber Landscapes, Adelaide Festival 2023 

(The Lustful Mother) is placed in the capable hands of Australian mezzo Judith Dodsworth, a specialist in contemporary and one who seemingly has no problems in conveying the Finnish texts.. a passionate and involved singer. 

Brett Allen-Bayes, Limelight: Chamber Landscapes, Adelaide Festival 2023 

The program continues with excerpts from the UKARIA-developed song cycle The Unknown Swimmer by composer Kevin March which incorporates startlingly innovative percussion, flutes and cello and is led by librettist and soprano Judith Dodsworth. The playing is tender and gorgeous particularly in the final excerpt Coming Home which features bass flute and singing bowls in support of Judith’s soaring soprano.

Act 2 opens with another world premiere this time of Sophie Rose’s To Echoes and Lines also sung by Judith Dodsworth. This electronic work which has won the Homophonic! Pride Prize celebrates the aging of queer women as an act of joyous rebellion.  It is a stunning blend of digital music and voice with human voice utilising a wearable smart ring on the singer’s hand that enables control of the shape and pitch and bend of the performance.  Staggering!

Susanne Dahn, Theatre Travels: Homophonic! La Mama, Midsumma Festival 2024

Soprano Judith Dodsworth was a transfixing dramatic figure while presenting excerpts from Kevin March’s ethereal The Unknown Swimmer, contrasting impressively with the playful Laurie Anderson-style character she transformed into later on when premiering Sophie Rose’s To Echoes and Lines. Combining cutting-edge live electronic processing with Dodsworth’s undeniable virtuosity, Rose’s work was one of the most distinctive and engaging on the program. Indeed, every single performer was on top of their game, playing with skill, connection and commitment.

Kieran Welch, Limelight: Homophonic! 2024

The glowing exception was soprano/mezzo Judith Dodsworth, whose voice has enormous range and expressiveness, and who brought out the work’s playfulness and sensuality, both of which are essential aspects of Boulez’s typically French musical personality and of Char’s poetry. In other words: she brought an element of jazz to what otherwise sounded at times like the organised cacophony of a totally serialist marching band. 

Humprey Bower, After Words: Le Marteau sans maître, Adelaide Festival 2023 

 I just heard the radio broadcast video of your performance of "Asleep in the Deep" and am absolutely floored by your interpretation, your diction, your voice, and your understanding of what it is to be a singing chamber musician. I can't thank you enough for bringing a lot of joy into my morning.  

Message from composer Elaine Fine, March of the Women June 2025

Judith Dodsworth delivered an ethereal soprano solo.  Her voice is truly a marvel in its range and emotional scope.

                                                Tom Bensley, Theatrepeople: A Drone Opera 2015

Your and Stefan (Cassomenos)'s performances rank among the best I've had. It was a complete joy for me to work with you, from start to finish, so completely gratifying. Composers fantasize about working with "dream teams," performers who really absorb and understand new music and who can throw themselves into it and top-notch concerts that come off without a hitch. That was ‘Sappho’s Butterflies’.

Composer Kevin March, Sappho’s Butterflies (Mythweaver) 2014 Metropolis Festival

Laila Engle and Judith Dodsworth’s performance was by far the best that I have seen of this popular piece. Impeccably coordinated the whole way through, they choreographed their body language and facial expressions so that they seemed to meld into one variously sad, angry and staring body.

Matthew Lorenzen, Real Time: Logic, Metropolis Festival 2014

Special praise for Judith Dodsworth, who sight-read the role of the secretary splendidly while Belinda Prakhoff, unable to sing, acted the part on stage.

Barney Zwartz, SMH: The Consul 2014

Eliza – played by a positively mesmerising Judith Dodsworth – is a flurry of neurotic energy. Possessed by grief, she shuffles restlessly here and there, now on her back kicking her legs up in the air, now grabbing her horrified maid by the hands and twirling her around. At one point, she asks a gentleman in the audience to kindly get up from his chair and, from the very spot where he sat, proceeds to spout the most deliciously vile monologue about monsters, heartbreakers and f**king. At another, she does the musically unthinkable: she creeps over to Leigh Harrold’s piano, peers over his shoulder as the music mounts in an excited accelerando, and completes his musical phrase for him with a trill in the upper register of the instrument. The result of all these personal touches is a completely original brand of integrated chamber opera performance, as directly communicative as it is artistically satisfying.

Ilario Colli, Limelight: Miss Donnithorne’s Maggot 2013

Judith Dodsworth’s rich tonal colours were expertly combined with sul ponticello strings. Accompanied by Faustian arpeggios, Dodsworth is diabolically vengeful.

Judith Crispin, City News: From A Black Sky 2013

Judith Dodsworth gave her all to voice the narrative... rock solid in her performance of an extremely demanding score.

Jennifer Gall, The Canberra Times: From a Black Sky 2013

In Kurtág's Messages of the Late Miss R. V. Troussova, soprano soloist Judith Dodsworth gave an extremely animated account of the fictitious character's journey from loneliness, through erotic companionship to abandonment, regret and recrimination.

Eamonn Kelly, The Australian: Messages ANAM 2010

His sister Grete, who even as Gregor has become an insect is herself metamorphosing into womanhood, with her personal growth offsetting his demise, received a strong and sympathetic reading from Judith Dodsworth.

Peter Burch, The Australian: Metamorphosis 2006

Her commitment to the drama is intense and articulation exemplary.

John Slavin, The Age: Metamorphosis 2006

Soprano Judith Dodsworth brought an acute musical intelligence to the problems of interpretation. Hers is a big voice, but it was disciplined to sustain a seamless and sensitive delivery... Altogether a remarkable triumph for composer and singer.

Harvey Mitchell, The Times: Beyond the Grass Tree Spears

Castlemaine Festival 2005

As Pygmalion, Judith Dodsworth sang with security and confidence, playing her role with panache. Her singing was outstanding throughout.

Bill Stephens, Muse: Pygmalion (presented as Cantata) 2003

Judith Dodsworth as Eugenia wafted hilariously through the garden but summoned the energy to sing with accomplishment.

Janet Wilson, Opera UK: Il Filosofo di Campagna 2002

As Eugenia, Judith Dodsworth gave a strong performance with a clear rich-toned soprano. Singing about the cruelty of her father, Dodsworth was captivating.

Richard Windeyer, Opera Opera: Il Filosofo di Campagna 2002

The standard of singing was truly exceptional. Judith Dodsworth was extremely funny as the classic prima donna Eugenia. Her tragic aria, the one serious moment in the opera, was breathtaking, momentarily transforming her into a Madam Butterfly or a Mimi.                                                                                  

Judith Crispin, Muse: Il Filosofo di Campagna 2002