Aoife Miskelly

Soprano

"Aoife Miskelly’s bright-as-a-button Susanna, exquisitely sung and roguishly acted"

Hugh Canning, The Times

"...one of the best interpretations I have seen on the operatic stage in a long time"

Robert J Farr, Seen and Heard International

"Aoife Miskelly sings the title role with gleeful vitality"

Rebecca Franks, The Times

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Northern Irish soprano Aoife Miskelly studied as a Sickle Foundation Scholar on the Opera Masters degree course at the Royal Academy of Music in London, graduating in 2012 with the Regency Award. During her studies, Aoife was a Kathleen Ferrier Awards finalist (2010), won a BBC Northern Ireland Young Artists Platform Award, and was a Samling Scholar, Internationale Meistersinger Akademie Young Artist and Britten-Pears Young Artist. Aoife was the winner of the Hampshire National Singing Competition in 2011, the Bernadette Greevy Bursary in 2011, finalist in the Veronica Dunne International Singing Competition 2013, and finalist in the 2015 Wigmore Hall Song Competition.

During the 2012-16 seasons Aoife was a soloist at the Cologne Opera House, where roles include Gilda Rigoletto, Gretel Hänsel und Gretel, Musetta La Bohème, Zerlina Don Giovanni, among others, and the lead role of Harey in the German premiere of Detlev Glanert’s Solaris. In May 2014, Aoife was awarded the prestigious Offenbach Prize by the friends of Cologne Opera House for outstanding achievement throughout the season.

A natural performer of modern music, Aoife created the role of Sophie Scholl in the world premiere of Sir Peter Maxwell Davies’ opera Kommilitonen! directed by David Pountney. She also performed the role of Mary Crawford in the London premiere of Jonathan Dove’s opera Mansfield Park in May 2012 with Royal Academy Opera.

Aoife is also a very keen oratorio singer, having performed in a whole host of concerts, including Beethoven’s Mass in C (in Cologne Cathedral), Brahms’ Deutches Requiem (St. Martin in the Fields), Carissimi’s Jepthe (St. John’s, Smith Square), Handel’s Messiah, Dixit Dominus, Laudate Pueri Dominum, and Saul (conducted by Laurence Cummings), Mozart’s Requiem, Coronation Mass and Exultate Jubilate, Orff’s Carmina Burana (Ulster Orchestra).

This biography is for information only and should not be reproduced.

​ Eccles Semele (Ino), Cambridge Handel Opera Company

(November 2019)

All the vocal soloists were excellent... the infatuated Ino [was sung by] Aoife Miskelly, employing light operatic vibrato in an affecting 'You've undone me'.

Sandra Bowdler, Opera Magazine

​ Janáček The Cunning Little Vixen (title role), Welsh National Opera

(October 2019)

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.

Robert J Farr, Seen and Heard International

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.

David Truslove, Opera Today

Aoife Miskelly sings the title role with gleeful vitality.

Rebecca Franks, The Times

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.

Stephen Walsh, The Arts Desk

​ Mozart Le Nozze di Figaro (Susanna), Nevill Holt Opera

(June 2018)

Aoife Miskelly’s bright-as-a-button Susanna, exquisitely sung and roguishly acted.

Hugh Canning, The Times

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

Mark Valencia, Whatsonstage

Miskelly captured all the gentle teasing implicit in ‘Deh vieni non tardar’.

Rupert Christiansen, The Telegraph

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

Sam Smith, Music OMH

​ Mozart Le Nozze di Figaro (Cherubino), Irish National Opera

(April 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.

Andrew Clements, 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.

Andrew Larkin, Bachtrack

Aoife Miskelly’s gawky Cherubino charms us all.

The Irish Examiner

​ Handel Radamisto (Polissena), Northern Ireland Opera

(May 2017)

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

Keris Nine, Opera Journal

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