For Bird/Blond Eckbert – Potsdammer Winteroper 2023

“Aoife Miskelly’s beautifully timbred, colourfully shimmering soprano as the bird, easily lures you into the story”

Frankfurter Allgemeine Zeitung

For Idaspe/Bajazet – Royal Opera House/Irish National Opera 2022

Soprano Aoife Miskelly possesses the most beautiful instrument in the cast, revealing an exquisite pearly soprano in her opening “Nasce rosa lusinghiera”. Miskelly’s “Anche il mar” dazzled with her consistency of tone and confident coloratura. Someone needs to cast her as Cleopatra immediately – I’ll be there in the front row!


Aoife Miskelly as Idaspe is brilliant, even when just shooting fearful glances”.

The Times

“Aoife Miskelly’s Idaspe – a confidant of Andronico, somewhat surplus to the libretto but given a more central role in the production – for the most part observing the action, but her voice silkily soaring..”

Journal of Music 2022

“Aoife Miskelly supplies a burnished soprano as his confidant Idaspe”.

The Telegraph 2022

For Donna Elvira/Don Giovanni – Nevill Holt Opera 2021

“Aoife Miskelly delights with Mozart’s luscious and thrilling arias for Donna Elvira, [giving] attention-grabbing performances of [her] show stopping arias.

Opera Scene

For Vixen Bystrouška/The Cunning Little Vixen – Welsh National Opera 2019 (by David Poutney and conducted by Tomáš Hanus)

“She creates a masterful characterisation whilst singing with her bright soprano. Hers is one of the best interpretations I have seen on the operatic stage in a long time”.

“Above all, it’s Aoife Miskelly as the feisty vixen Bystrouška whose clear-toned soprano and gleeful presence is a perfect match for this role and equally convincing whether brazen or maternal. Hers was a portrayal glowing with humanity”.

“Aoife Miskelly sings the title role with gleeful vitality”

Opera Today

“The Northern Irish soprano, Aoife Miskelly, sparkles as the Vixen, as athletic vocally as she is physically, jitterbugging around the stage in authentic twenties fashion.”

The Times

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”.


“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”.


“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

“Aoife Miskelly marvelled as Zerlina, her singing seemingly effortless and crystal clear, while expressive and versatile throughout. Her performance of the sensual [Vedrai carino] was outstanding”. 


“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”.


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