Reviews

Reviews

Rosina in Il Barbiere di Siviglia [more]

Clara O’Brien’s performance was a practical example of the proper Rossini ornamentation technique, as under discussion at the [Rossini Conference in] Pesaro. Stuttgarter Zeitung

Cherubino in Le Nozze di Figaro [more]

Clara O’Brien... delivered a fine vocal performance with a light, bright mezzo-soprano. Her amusing portrayal of the page was correspondingly convincing. Der Neue Merker

Hélène in La belle Hélène [more]

Clara O’Brien in the title roll was a stroke of fortune. She provided the musical high points with her brilliant, technically perfect commanding voice and her stage presence made her yet again the audience’s favorite. Stuttgarter Zeitung
More opera reviews

Komponist in Ariadne auf Naxos [more]

She sang and played the part ideally and was justifiably the celebrated star of the evening. Sender Frei Berlin

Octavian in Der Rosenkavalier

Clara O’Brien as Octavian... melded her voice wonderfully [with that of the Sophie] in the Rosenüberreichung scene. Badische Neueste Nachrichten

Musetta in La Bohème

The question is whether this mezzo-soprano has become a soprano. Certainly she is capable of it, for she handled the [soprano] tessitura very well indeed. She was as beautifully successful with the waltz “Quando men vo’” as with the many well-declaimed parlando passages.

Dorabella in Così fan tutte [more]

One of the highlights of the season for a young artist. Opernwelt

Donna Elvira in Don Giovanni

Clara O’Brien [was] a virtuoso Elvira. Stuttgarter Zeitung

International Handel Festival [more]

...the perfect Handel soloist. Die Rheinpfalz

Miss Donnithorne in Miss Donnithorne’s Maggot (Peter Maxwell Davies) [more]

One of the highlights of the season for an established artist. Opernwelt

Mignon in Mignon [more]

... the title role was ideally cast. When Clara O’Brien yearns for the land where the lemon trees bloom, we, too, in the audience believe we sniff some of the fragrance. She is through and through a graceful creature with a dark fragility and a secretive voice whose soul is given breath by a great loving heart. Stuttgarter Zeitung

Polly Peacham in Beggar’s Opera

Clara O’Brien through her charmingly performed airs and her sassy portrayal was wonderful. Die Rheinpfaltz Zeitung

Dinah in Trouble in Tahiti

The role of Dinah was sung by Clara O’Brien who was armed with a beautiful vocal timbre and good acting skills. Her singing of, “I Was Standing In a Garden” was gorgeous and a high point of the 50-minute work. Classical Voice North Carolina

Siebel in Faust [more]

Siebel was portrayed by Clara O’Brien with a remarkable lyrical vocal quality. Opernwelt

Lola in Cavalleria rusticana

Refreshingly capricious and seductive as well as vocally superior Clara O’Brien made it very understandable why the young peasant Turiddu finds her so dangerous attractive. Die Rheinpfaltz Zeitung

Fenena in Nabucco

Clara O’Brien was an excellent Fenena. Opernspeigel

Stéphano in Roméo et Juillette

Clara O’Brien as the page Stéphano requires special praise, for her comical acting but also no less for her excellent vocal presence. Frankische Nachrichten

Mallika in Lakmé

We would gladly have heard more from the lovely mezzo Clara O’Brien. Der Neue Merkur

Rosa Sacchi in Die schwarze Maske (Penderecki)

Clara O’Brien was a charming Rosa with pithy vocal contour. Die Badische Neueste Nachrichten

Concert [more]

The greater part of this exemplary performance [of Mahler’s Rückertleider] came from… Clara O’Brien, through her clear and highly expressive diction in which each tone was intricately formulated. Her deeply intimate expressiveness made her shine as superb interpreter of Mahler’s music. Die Rheinpfaltz Zeitung

Recital [more]

Naturalness seems to be the secret with which Clara O’Brien makes one almost forget that her efforts are not only great, but beyond that, also enormously difficult art.