Reviews

For Susanna/Le Nozze di Figaro – Nevill Holt Opera 2018

“Aoife Miskelly’s bright-as-a-button Susanna, exquisitely sung and roguishly acted”. The Times, Hugh Canning

“But the standout moment occurred in Act Three: a divine rendition of “Sull’aria” by Ingram and Aoife Miskelly’s charismatic Susanna”. Whatsonstage

“Miskelly captured all the gentle teasing implicit in ‘Deh vieni non tardar’”. The Telegraph, Rupert Christiansen

“Aoife Miskelly, with her beautiful soprano… with some astutely observed gestures, reveals how Susanna simply and quietly goes about getting the job done” – Music OMH

For Cherubino/Le Nozze di Figaro – Irish National Opera 2018

“Irish National Opera’s first bespoke show…musical standards were high, with Máire Flavin’s Countess and Aoife Miskelly’s Cherubino particular standouts… The real dramatic truthfulness seemed to come from Aoife Miskelly’s beautifully awkward Cherubino, and his flirtations with Barbarina” The Guardian

“Aoife Miskelly really impressed as the love-sick page, Cherubino. “Voi che sapete” was ravishingly good and delightfully bashful while her acting was convincingly hormonal and mischievous” Bachtrack

“Aoife Miskelly’s gawky Cherubino charms us all” The Irish Examiner

For Polissena/Radamisto

“Whether she’s singing Bach or Barry, Schoenberg or Mozart, Glanert or Rimsky-Korsakov, Aoife Miskelly never fails to impress, so it was no surprise that her expressive coloratura as Polissena was just dazzling” Opera Journal

For Zerlina/Don Giovanni

“But the evening belongs to Northern Ireland soprano Aoife Miskelly, fizzing and sparkling as a pert, sexy Zerlina, even in the slightly queasy aria where she begs to be punished violently for her dalliance with the dastardly Don“ The Stage

“However, there was a real standout performance from the Northern Irish soprano Aoife Miskelly, whose Zerlina was charming, musical and sparkling” The Times

For Pamina/Die Zauberflöte

“Her potential is huge, and what we did hear was gorgeous. The timbre is absolutely ideal for the role, shining, effortlessly sweet, with a coruscating vibrato that gets more beautiful as it ascends above the stave. Felicity Lott and Barbara Bonney were put in mind” Bachtrack

For Harey/Solaris (by Detlev Glanert)

“Among the singers, the young Irish soprano Aoife Miskelly stands out. She began life in the [Cologne] opera studio, then gave a beautiful Gilda and now belongs to the ensemble. With a slim figure, her singing in the role of Harey shines wonderfully and is intensely played” Der neue Merker