"However, it was the glorious voice of soprano Celine Byrne and her thoroughly convincing portrayal of the doomed Cio-Cio-San that made last night’s staging such a spectacular triumph."
Bachtrack, Andrew Larkin, 25 March 2019
Irish soprano Celine Byrne begins Season 2019/20 with concert appearances in Bangkok alongside Jose Carerras in her 11th season of singing with the artist. Returning to Europe, she makes two important debuts, first at Opéra National de Paris as Ortlinde Die Walküre and later at Staatstheatre Hamburg as Mimi La Bohéme. She returns to Ireland to sing the role of Micaela Carmen with Irish National Opera, and revives the role of Mimì for performances with Opera Idaho. Celine travels to St. Margarethen to appear as Liu Turandot, and in December, she hosts her annual Christmas Gala at Dublin’s Bord Gáis Theater.
Last season’s highlights include the artist’s American opera debut as Magda La Rondine at Minnesota Opera; In Germany, she appeared in the title role Madama Butterfly with Staatstheater Kassel, and at Irish National Opera in a highly lauded production that included a live television broadcast. She made her debut at Santiago’s Theater Municipal in Chile as the Marschallin Der Rosenkavalier and on her return to Ireland, sang the role of Marietta/Marie Die Tote Stadt with RTÉ National Symphony Orchestra in the National Concert Hall, Dublin.
Appearing often in concert, the artist is renowned to both Irish and international audiences, and appears regularly with such artists as Roberto Alagna, Joseph Calleja, Bryn Terfel and Josè Carreras, with whom she looks forward to concerts in Europe, China and Russia, after her 30th concert with him at The Royal Albert Hall in May.
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Madama Butterfly, Irish National Opera
The singing ranged from the very good to the superlative. It was Celine Byrne in the title role of Madama Butterfly, who captured everyone’s heart. The technical challenges of the role are as formidable as its dramatic ones. Byrne effortlessly accomplished both, so much so that we were unaware of either but were drawn irresistibly to her, enchanted by the liquid gold of her voice and her piteous fate. Right from the start, Byrne spun her gossamer thread of melody with such confidence and beauty that we were instantly intoxicated. Her “e questo” as she points her son out to the US Consul Sharpless in Act 2 was nothing short of sublime, rending our hearts in twain. From the touching bloom of first love to desperate waiting, Byrne made her Cio-Cio-San utterly believable, so much so, that the abandonment of her child and her ensuing jigai at the end possessed an ineluctable realism.
Bachtrack, Andrew Larkin, 25 March 2019
La Rondine, Minnesota Opera
As Magda, the high society mistress of a powerful Parisian, Irish soprano Celine Byrne proves the ideal match for Puccini’s demanding arias. The composer asks for several soft upper-register entrances, and Byrne made each swoon-inducing with her impeccable control and tenderness.
Pioneer Press, Rob Hubbard, 7 October 2018
Tosca, Mikhailovsky Theatre - St Petersburg
But it was an Irish heroine who made the piece as, in a performance that was enough to burst hearts, Byrne stole the show, her beautiful voice soaring to the ceiling of the theatre as Tosca was tempted into believing her lover had strayed and subsequently betrayed him...All effort has been made to make this production an atmospheric one. The singing is spine-tingling at the very least and some in the audience were moved to tears by Byrne’s voice.
Irish Daily Mail, 16 March 2018
Don Carlos, Deutsche Oper am Rhein
The Irish soprano Celine Byrne as Elisabeth of Valois and the Italian tenor Gianluca Terranova in the role of Don Carlo harmonize perfectly as a couple. Great voices that leave a strong impression, wonderful melodies in one of the best Verdi operas. As always, the Duisburger Philharmoniker, which seemed to be particularly good on the first evening, will make a significant contribution to the success. All in all: A great opera, a great evening – absolutely recommendable!
…Added to this were the strong voices of the soloists, most remembered is Celine Byrne, especially her farewell duet went musically under the skin: “We see ourselves again in a better world, already beats for us the first hour of eternity …"
But also musically convinced all this evening without exception. Celine Byrne as Elizabeth draws the listener above all with her soft tones completely under her spell. In the end, there were standing ovations – rightly so!
The solos, duets, terzets and quartets are so expressive that it suffices to visualize moods visually with the stage design. Celine Byrne as Elisabetta impresses me most vocally.
Celine Byrne's Operatic Repertoire
|J. Benedict ||
Ann Chute (Lily of Killarney)
|G. Bizet ||
Wally (La Wally)
|A. Dvorak ||
|C. Gounod ||
Marietta/Marie (Die Tote Stadt)
|F. Lehar ||
Anna Glavari (The Merry Widow)
|R. Leoncavallo ||
Nedda (I Pagliacci)
Countess Almaviva (Le Nozze di Figaro)
Donna Elvira (Don Giovanni)
Magda (La Rondine)
Mimi (La Boheme)
Cio Cio San (Madama Butterfly)
Lauretta (Gianni Schicchi)
Marschallin (Der Rosenkavalier)
|G. Verdi ||
Elizabetta (Don Carlo)
|R. Vaughan Williams ||
Nora (Riders to the Sea)
|C. M. von Weber ||
Agathe (Der Freischutz)
Celine Byrne's Concert Repertoire
|J. Brahms ||
|G. Faure ||
|G.F. Handel ||
|J. Korngold ||
Drei Lieder op. 18
|G. Mahler ||
Symphony No. 4
|F. Mendelssohn ||
Missa in C (Coronation Mass)
Missa Brevis in B flat (K275)
|R. Strauss ||
Vier letzte Lieder