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Press Reviews

 

DIDO & AENEAS

December, 2010

Oper Frankfurt

"Paula Murrihy as Dido is a powerful magnet. How she, externally scarcely moves, yet more movingly begins to sing, regal in the centre of the stage sitting and lamenting" I am prest with torment," with such impressive clarity that one needs and tolerates no staging concept other than the presence of this singer."

Frankfurter Rundschau | Hans Jürgen Linke | DIDO & AENEAS, Oper Frankfurt,
December, 2010

"It is one of the most poignant moments in operatic history. Dido's Lament. At least as shocking as Isolde's Liebestod. No consolation, nowhere. In Frankfurt, Paula Murrihy makes it a breathtaking moment of suspense."

Die Rheinpfalz | Frank Pommer |
DIDO & AENEAS, Oper Frankfurt,
December, 2010


Wexford Festival Opera

Lunchtime Recital

June, 2009


During their shared recital Irish singers Owen Gilhooly (baritone) and Paula Murrihy (mezzo soprano) delivered outstanding renditions of songs by Brahms and Duparc...'

Opera Today | Claire Seymour |
Lunchtime Recital, Wexford Festival Opera,
June, 2009

“Dickie travels the globe in search of fresh voices, and the superlative cast for “Clemenza” is a typical mix of local and international talent. Among them are Croatian coloratura-mezzo Renata Pokupic, Irish mezzo Paula Murrihy and American bass Andrew Funk,….”


MusicalAmerica.com | Wynne Delacoma |
La Clemenza di Tito, Chicago Opera Theatre,
April, 2009

“The other principal roles were taken with distinction by mezzo Paula Murrihy, a refulgent Annio, and bass Andrew Funk, an excellent Publio.”

OPERA NEWS | Mark Thomas Ketterson |
La Clemenza di Tito, Chicago Opera Theatre,
April, 2009

"The performance of the Frankfurt Opera is impressive, the soloists—Paula Murrihy is an incredibly moving Dido—suit each other vocally, all are commanding, enthusiastic, very present. Kosky's direction is full of fine attention to acting details. The rest is Carydis."

Süddeutsche Zeitung | Egbert Tholl |
DIDO & AENEAS, Oper Frankfurt,
December, 2010

"The soprano Paula Murrihy as Dido is a stroke of luck. With her pure, beautiful soprano she embodies wonderfully the plight of the ancient Queen."

Main-Echo | Bettina Kneller |
DIDO & AENEAS, Oper Frankfurt,
December, 2010

"The psychological complexity in the relationship between man and woman in "Bluebeard" is not reached to the same heights in Purcell's "Dido." But in the figure of the Queen of Carthage, the brilliance of Purcell's music will allow these complexities to come leaking through: the risk to the emotions, the violation of these which in the worst case leads to death. The mezzo soprano Paula Murrihy follows this psychological process with clear, focussed expressive voice impressively."

Frankfurter Allgemeine | Gerhard Rohde |
DIDO & AENEAS, Oper Frankfurt,
December, 2010

"Paula Murrihy really overwhelmed as Dido, with her slender, flexible soprano captivating all Baroque affects impressively."

Giessener Allgemeine | Anita Kolbus |
DIDO & AENEAS, Oper Frankfurt,
December, 2010

"Paula Murrihy sits with her melancholic, compassionate acting and excellently nuanced soprano, a young Dido literally on the ramp"

Der Neue Merker | Friedeon Rosén |
DIDO & AENEAS, Oper Frankfurt,
December, 2010

"There was, moreover, much to be impressed with in the smaller roles. Elena Xanthoudakis’s Frasquita and Paula Murrihy’s Mercédès sounded a true gypsy – or rather, Bizet’s fantasy-gypsy – presence"

Boulezian | Mark Berry |
CARMEN, Royal Opera House,
June, 2010

CARMEN

Royal Opera House

June, 2010

"There are perky contributions from Paula Murrihy and Elena Xanthoudakis’s Mercédès and Frasquita."

The Sunday Times | Neil Fisher |
CARMEN, Royal Opera House,
June, 2010

"Rice is best when she shows the softer sides of Carmen’s personality, such as in the card game trio with Frasquita (Elena Xanthoudakis) and Mercédès (Paula Murrihy). All three singing particularly well. A wonderful vignette."

Opera Today | Anne Ozorio |
CARMEN, Royal Opera House,
June, 2010

“Paula Murrihy was an especially fine Cherubino.”

OPERA NEWS | Judith Malafronte | Ghosts of Versailles, Opera Theatre of Saint Louis,
June, 2009

Ghosts of Versailles

Opera Theatre of Saint Louis

June, 2009

“As stage characters in the concurrent Figaro comedy, a jewel of an ensemble worked tightly together in a slightly heightened play-acting style. Samuel Read Levine (Leon), Paula Murrihy (Cherubino), Sean Panikkar (Almaviva) were all terrific ...”

Opera Today | James Sohre | Ghosts of Versailles, Opera Theatre of Saint Louis,
June, 2009

“Paula Murrihy, as Cherubino, and Kishani Jayasinghe, as Rosina displayed strikingly attractive voices in the opera’s most famous excerpt, the quartet “Come now my darling, come with me.”

Opera News | Bryan Kellow |
Ghosts of Versailles, Wexford Festival Opera,
October, 2009

La Clemenza
di Tito

Chicago Opera Theatre

April, 2009

“Paula Murrihy as Annio and Charlotte Dobbs as Servilia blended voices gracefully in their amorous duet.” 

Chicago Tribune | John von Rhein | La Clemenza di Tito, Chicago Opera Theatre, April, 2009

“Irish mezzo Paula Murrihy is a lovestruck Annio who’s both hilarious and poignant.”

98.7WFMT | Andrew Patner | La Clemenza di Tito, Chicago Opera Theatre, April, 2009

“Paula Murrihy becomes a perfectly clownish and convincing Annio.”

SteadStyleChicago.com | Venus Zarris |
La Clemenza di Tito, Chicago Opera Theatre, April, 2009

“Beautifully sung mostly by female including fine arias by Renata Pokupic, Paula Murrihy, Armanda Majeski and Charlotte Dobbs. Sopranos and mezzo sopranos never sounded so fresh and vibrant.”

chicagocritic.com | Tom Williams |
La Clemenza di Tito, Chicago Opera Theatre, April, 2009

Irish Chamber
Orchestra Recital

“The festival day on Thursday closed with a song recital of Schumann and Debussy, given by the confident, technically-assured and clear-voiced mezzo soprano, Paula Murrihy.”

The Irish Times | Michael Dervan |
Irish Chamber Orchestra Recital, MBNA Shannon International Music Festival, Limerick, July 2008

“Outstanding performances include Amanda Majeski as Vitellia, the schemer; Renata Pokupic as Sesto, her unfortunate tool; and Dominic Armstrong as the emperor. But my favorite was Paula Murrihy, as Sesto's appealingly klutzy but gorgeous-voiced friend, Annio.”

Chicago Reader | Deanna Isaacs |
La Clemenza di Tito, Chicago Opera Theatre, April, 2009

“As Annio, Paula Murrihy showed a particularly interesting voice and visible scenic engagement.”

Mundoclassico.com | Claudio Vellutini |
La Clemenza di Tito, Chicago Opera Theatre, April, 2009

SEMELE

OPERA BOSTON

Feburary 2008

“As her gawky sister Ino, hopelessly in love with Athamas, mezzo Paula Murrihy and her polished-marble timbre convincingly negotiated the tightrope between hope and despair.”

Boston Globe | Matthew Guerrieri |
Opera Boston, Feburary 2008

“Paula Murrihy’s Ino was likewise vibrantly sung and acted.”

Financial Times | George Loomis |
Opera Boston, Feburary 2008

Ariodante

Emmanuel Music, Boston

January, 2007

“Emmanuel’s Ariodante last Saturday night was the young Irish-born mezzo-soprano Paula Murrihy, who has sung quite a bit in Boston and who was a witty and mischievous Second Lady in the Santa Fe Opera’s Zauberflöte last summer. This year she is one of Emmanuel’s three Lorraine Hunt Lieberson Fellows, and this was her first Handel opera. Her voice has more the focused glow of a soprano than the usually thicker mezzo texture, and she has a soprano’s coloratura flexibility. She was outstanding in her first-act aria and duet with Ginevra (the excellent high soprano Sarah Pelletier) and in both “Cieca notte” (“Blind night”), the aria that begins the third act, and its joyous and spectacular counterpart that brings down the house near the end, “Doppo notte” (“After night”), in which Ariodante sings — across an entire two-octave range (from A to shining A) — of the new sunshine that has replaced the storm that almost capsized his boat.

As for “Scherza infida,” she sang it with precise articulation, limpid tone, musicality, and touching sadness ‘

Boston Pheonix | Lloyd Schwartz |
Ariodante, Emmanuel Music, Boston,
January, 2007

“As Ino, Paula Murrihy sang with sumptuous legato and a real understanding of how to paint text.”

Opera News | Wayman Chin |
Semele, Opera Boston, Feburary 2008

“As the knight Ariodante, the Irish mezzo-soprano Paula Murrihy sang with martial splendor and endless breath. That she was equally good in soft passages, and didn't tire over the whole evening, says she's a real singer with a solid foundation.”

Boston Globe | David Perkins |
Ariodante, Emmanuel Music, Boston,
January, 2007

A special guest for Schumann

Jordan Hall, Boston

January, 2008

“As the vocal soloist, Murrihy sang the "Song of the Cuckoo" with a pure and generous tone, warning married couples to keep their door tightly locked, all through the night.”

Boston Globe | Jeremy Eichler |
Jordan Hall, Boston, January, 2008

HARBISON Symphony No. 6 (World Premiere)

Boston Symphony Orchestra

January, 2012

“A masterpiece of mixed emotions, still showing signs of the confident, robust tribute to James Levine that Harbison intended to write,....The Irish mezzo Paula Murrihy delivered Harbison’s well-crafted phrases in a voice that reminded one of ivory—firm, smooth, subtly colored, and readily shaped. And powerful enough to drown out the orchestral accompaniment in the movement’s opening bars....by the time she strode off stage left, Murrihy had given an account of the poem that would resonate throughout the work.”

Boston Classical Review | David Wright | HARBISON Symphony No. 6, Boston Symphony Orchestra, January, 2012

“Last night mezzo-soprano Paula Murrihy sang with radiant tone.”

The Boston Globe | Jeremy Eichler |
HARBISON Symphony No. 6, Boston Symphony Orchestra, January, 2012

“...Murrihy captivated with her lyrical vibrato, poised singing style, and sparkling-clear diction. Her mastery of Harbison’s often challenging vocal lines was evident as her beautiful singing seemed to echo long into the subsequent movements of the symphony.”

The Tech | Bogdan Fedeles |
HARBISON Symphony No. 6, Boston Symphony Orchestra, January, 2012

DIDO & AENEAS

October, 2014

LA Opera


"  ....and Dido, performed by the charismatic Irish mezzo Paula Murrihy. Hers was a Dido of supernal serenity, disrupted by volatile outbursts of emotion and desire, held together by a gloriously pellucid voice that riveted our ears to Purcell’s tragic melodies and rendered Dido’s death memorable. "

Opera News | Simon Williams | DIDO & AENEAS, LA Opera, October, 2014

"Irish mezzo Paula Murrihy's aristocratic poise and pearly voice captured Dido's exquisite melancholy, furious anger, and, in her famous lament "When I am laid in earth" and its aftermath, her grisly end-of-life journey of shocking gasps and sighs."

Huffington Post | Rodney Punt | DIDO & AENEAS, LA Opera, October, 2014


"Murrihy (who has appeared in all three previous productions) is remarkable, the embodiment of love turned to pain and ultimately death. Her final lament (as directed by Kosky) provides one of the most heartrending scenes you will ever see."

LA Daily News | Jim Farber | DIDO & AENEAS, LA Opera, October, 2014

Benvenuto Cellini

English National Opera

June, 2014


"Mezzo Paula Murrihy cut a physically dashing, vocally stylish figure as Cellini's personal assistant, Ascanio. "

Opera News | George Hall |
Benvenuto Cellini, English National Opera,
June, 2014

"Paula Murrihy is delightfully ebullient as Cellini’s assistant Ascanio"

The Telegraph | Rupert Christiansen |
Benvenuto Cellini, English National Opera,
June, 2014

"Yet Paula Murrihy almost stole the show,  bringing trouser-role swagger to Ascanio and singing with a focused mezzo and enough vocal dash to hold the stage in her ebullient solo’."

Opera magazine | John Allison |
Benvenuto Cellini, English National Opera,
June, 2014

St. Matthew Passion

OAE, Royal Festival Hall, London

April 2015

“..the outstandingly focussed and eloquent mezzo Paula Murrihy..”

The Times UK | Hilary Finch | St. Matthew Passion, OAE, April 2015

“...Paula Murrihy's mezzo-soprano was rich and yet subtle and nuanced.”

Music OMH | Sam Smith |
St. Matthew Passion, OAE, April 2015

DER ROSENKAVALIER
De Nationale Opera, Amsterdam

September 2015


"Paula Murrihy was an entirely credible Octavian; young and impetuous with a well controlled, warm mezzo."

Opera Magazine | Erna Metdepenninghen
Jan 2016


DER ROSENKAVALIER
Oper Frankfurt May 2015


"The singing is, without exception, uniformly at the highest niveau. Amanda Majeski, even in her most intense moments, exudes a fine fragility. She harmonizes wonderfully with Mezzo-Soprano Paula Murrihy, who presents a passionate and impulsive Octavian. Together with Christiane Karg's certainty in the upper register as Sophie, Paula Murrihy and Amanda Majeski succeed in offering a deeply moving trio of love and relinquishment shortly before the end of Act III."

Frankfurter Neue Presse | Michael Delith

DER ROSENKAVALIER

De Nationale Opera, Amsterdam

September 2015

“Brilliant, electrifying and youthfully vital was the Octavian of Paula Murrihy. The young singer also captivated scenically as a committed credible Rosenkavalier.”

Opernglas | M. Fiedler | Sept 2015


DER ROSENKAVALIER

Oper Frankfurt

May 2015

“Octavian was shiningly sung by Paula Murrihy…with her lustrous, soprano-ish mezzo”

Opera Magazine | Hugh Canning | Sept 2015


DER ROSENKAVALIER

Oper Frankfurt

May 2015

"Dream casting in the title role is the svelte, characterful and vocally versatile Paula Murrihy as Octavian."

Frankfurter Rundschau |
Hans Klaus Jungheinrich


DER ROSENKAVALIER

Oper Frankfurt

May 2015

“From the homogeneous ensemble of singers Paula Murrihy as Octavian stood out. With her warm richly coloured mezzo she wowed the audience. In addition she sang with clear intelligibility of text and was scenically the central point of this performance."

Maintal Tagesanzeiger | Lars Erik Gerth

Carmen

Oper Frankfurt

June, 2016


“Paula Murrihy sings and plays a sadistic Carmen. Fantastic! …Murrihy brings to the role a flexible, versatile voice - sometimes big, particularly strong, soft and supple – a voice in which one can detect emotion at every second. Murrihy sings this Carmen like a song, a fine embodiment of the role, on one long breath, word perfect.”

Deutschlandradio Kultur | Natascha Pflaumbaum


“Paula Murrihy sang and danced with quite versatile magic, conveying herself as a virtuoso of the highest order.”

Frankfurter Rundschau | Hansklaud Jungheinrich


“In Paula Murrihy, Kosky has found his ideal Primadonna. The Irish mezzo-soprano not only has an irridescent voice, but is also a gifted dancer and actress.”

Musik Heute | Bettina Boyens


“Paula Murrihy with her vocal magic, presence and precision, ease and sex appeal is an equal to [Joseph Calleja as Don José].”

Bild Frankfurt | Josef Becker


“Paula Murrihy’s presence could not have left anyone untouched, either on stage or in the auditorium… She managed not to wallow in cliché or kitsch, but always remained natural; she rarely gave in to the lyrical side, instead favouring clarity of diction, and set the voice free in favour of linguistic colour… [She] showed a new, discreetly seductive Carmen who does want obviously infatuated men, but weaves her magic with subtle charm.”

Bachtrack | Stephan Eckel


“…The singers were on top form throughout, with Paula Murrihy foremost in the title role - her ‘femme fatale’ character not too forced, rather quite naturally interpreted.”

Frankfurter Neue Presse | Michael Dellith


“Paula Murrihy in the title role is a harmonious and balanced vocal powerhouse, with a full, warm mezzo-soprano timbre which continually emphasises the undertones of the character.”

HNA (Hessische-Niedersächsische Allgemeine) | Stefan Michalzik

“Paula Murrihy remains relentlessly in the spotlight with eloquent expressiveness – hunting, creeping, crawling over the stage, dancing with the ensemble and singing easily and flexibly, just as is required of the role. She embodies an almost inexhaustible range of characteristics: sexy, saucy, lascivious, seductive, cold blooded, self-centred, stubborn, strong. Her greatest and most convincing success is that central Carmen characteristic – eroticism, which radiates from her at every moment.”

Christiane Franke | Opernnetz |


“Irish mezzo-soprano Paula Murrihy, with her flexible and well guided timbre, took centre stage. Her agile performance left nothing to be desired. She presented an exceptional theatrical interpretation of Carmen, which set new standards.”

Maintal Tagesanzeiger | Lars-Erik Gerth |

“The focused, often imploringly soft and whispering Paula Murrihy… is a perfect medium and a willing projector for Kosky’s at times operatic, at times tragic variation on the legendary archetype we think we know.”

Die Welt | Manuel Brug |


“Paula Murrihy as Carmen must be declared a triumph, bringing full vocal expressive potential to the reduced orchestral score, showing that Carmen can be more than erotic – so much more.”

Rhein-Neckar-Zeitung | Bernd Zegowitz |