REVIEWS

The Theatre…is a house of strange enchantment,
a temple of dreams.

Noël Coward
October 01, 2016
“O’Connell, a mezzo-soprano, was superb in her role and performed Fauré’s Chanson with alluring beauty.”
February 21, 2016
“Naomi O’Connell followed her febrile Cherubino with a gently determined Serafin (aptly he is later revealed to be Cherubino’s son by the Countess) and, together with Rhian Lois’ adorable Angelika, make an attractive pair of young lovers.”
February 22, 2016
“Again Naomi O’Connell totally captivates with her zest and eventual joy.”
February 22, 2016
“Most interestingly, the Mozart Cherubino (Naomi O’Connell) and Barbarina (Rhian Lois) are reincarnated as their illegitimate children, with a pretty love duet, beautifully sung…”
February 20, 2016
“Naomi O’Connell is a full toned and hilariously gawky Cherubino, perfectly capturing the youth not yet fully in control of his body or libido.”
February 19, 2016
“As Cherubino, O’Connell, too, gives a brilliant performance – cheekily bouncing off the other characters and playing the page as minstrel, soldier and lady with light-hearted wit and charm.”
February 22, 2016
“Naomi O’Connell (Cherubino) sang earnestly, with admirable expressive depth.”
February 19, 2016
“Naomi O’Connell brings a superb characterization to the role. Her subtle comedy is a joy to watch and her ‘radiant mezzo-soprano’ a joy to hear.”
February 19, 2016
“Naomi O’Connell was marvellous in the trouser role of Cherubino, sparkling with her glorious arias…”
April 07, 2015
…with mezzo-soprano Naomi O’Connell in the trouser role of the amorous youth Cherubino as an early standout. She’s a delight, a fine singer as well as an impressively alert and supple comedienne. She turns the largo passages of “Non so più” into a dreamy show-stopper, and her “Voi che sapete” had real longing and depth.
April 06, 2015
In the pants role of Cherubino, we got Naomi O’Connell, whose dark-hued mezzo voice had just the right youthful quality… Her energetic portrayal mixed comedy with sympathy and conveyed the innate awkwardness of adolescence.
December 27, 2014
..Naomi O’Connell’s Poppea is lascivious, who in all nuances of disguise and disclosure unerringly applies the weapons of a woman… – (Translated from the German)
December 27, 2014
…Naomi O’Connell’s laszive, in allen Nuancen der Ver- und Enthüllung zielgenau die Waffen einer Frau einsetzende Poppea…
December 23, 2014
The Irish mezzo soprano Naomi O’Connell as Poppea joins Oper Frankfurt for the first time in a role debut. She is a terrific partner of Nerone, sometimes chillingly calculating, sometimes melting away in passion. – (Translated from the German)
December 23, 2014
Zum ersten Mal ist die irische Mezzosopranistin Naomi O’Connell als Poppea dabei. Für sie ist es ein Rollendebüt. Sie ist eine grandiose Partnerin Nerones, mal eiskalt-berechnend, mal zerschmelzend im Liebesrausch.
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December 22, 2014
Naomi O’Connell as Poppea gives a remarkable debut… To ensnare Nerone is Naomi O’Connell’s Poppea, also vocally the command, worth a sin anytime… – (Translated from the German.)
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December 22, 2014
Als Poppea gibt die Irin Naomi O’Connell ein beachtenswertes Debüt… Nerone zu umgarnen, ist der Poppea von Naomi O’Connell auch stimmlich das Gebot, allemal eine Sünde wert.
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December 22, 2014
Naomi O’Connell with an effortless, appealing voice is a Poppea cunningly groomed as an object of male and narcissistic desire. – (Translated from the German)
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December 22, 2014
Naomi O’Connell mit leicht ansprechender Stimme eine raffiniert zum Objekt männlicher wie narzisstischer Begierde präparierte Poppea.
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December 21, 2014
Die Künste der Verführung zeigt Naomi O’Connell, zunächst in scharf schwarzer und bauchfreier Teufelchen-Montur, höchst liebreizend. Die stimmstarke irische Mezzosopranistin macht es mit Gesten, wie aus Film- und Fernsehen geläufig sind.
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December 21, 2014
Naomi O’Connell, dressed at first in a black midriff-exposed devil’s outfit, is extremely enchanting in showing the art of seduction. The strong-voiced Irish mezzo soprano uses expressions and gestures familiar to film and TV. – (Translated from the German)
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June 22, 2014
Murray’s proxy-parrot Vert-Vert apart, there is a palpable star of this show. Irish soprano Naomi O’Connell – now hugely in demand in America – is the feisty popular singer La Corilla, whose coloratura tours-de-force at the Lion d’Or – the grenadiers’ tankard-clinking taven – simply blew the lid off this performance.
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June 20, 2014
Naomi O’Connell’s turn as the man-eating La Corilla had everyone eating out of her hand.
June 11, 2014
…When Irish mezzo Naomi O’Connell opens her mouth as the popular chanteuse La Corilla, the whole musical experience zooms onto a whole new level. Coloratura to the gills, O’Connell is, inescapably, the big hit of this production.
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June 10, 2014
Naomi O’Connell radiates seductive glamour as a diva of the music halls.
music omh
June 09, 2014
Naomi O’Connell as the singer La Corilla takes the stage by storm with a beautifully rich yet silvery voice.
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April 11, 2014
My two favorite performances of the evening were delivered by Naomi O’Connell as the charming Rosine whose nicely delineated moments of happiness, despair, and confusion were delightful to watch and Derek Smith’s Bartolo.  
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April 15, 2014
Naomi O’Connell develops compelling[ly] from the first play as her feisty, resourceful Rosine becomes the elegant, subdued, self-doubting Countess — and eventually rediscovers her youthful spirit.
talkin_broadway
April 15, 2014
Naomi O’Connell gorgeously sings the only song which is employed in this Seville.
New York Times
March 15, 2013
Ms. O’Connell, who recently finished graduate studies at Juilliard, proved a natural in the recital format, winning over the audience with her rich, silvery voice and charming stage presence.  
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New York Times
March 15, 2013
Ms. O’Connell offered a compelling rendition of Poulenc’s “Dame de Monte Carlo,” her impassioned delivery of the final line embodying the bitterness of the faded female gambler. Her control, shadings and elegant vibrato rendered Arthur Honegger’s “Trois Chansons de la Petite Sirène” a delight.
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June 15, 2013
With raw power and focus, O’Connell made the twisted Lady Macbeth loom large in the intimate setting of the concert hall.
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January 01, 2013
Bass-baritone Evan Hughes and mezzo Naomi O’Connell could easily take their Alfonso and Despina straight to the stage of the “big house” a block downtown.
New York Times
November 16, 2012
Naomi O’Connell, a rich mezzo-soprano and a student at Juilliard, makes a sassy Despina, the maid to the sisters. This is a Despina who reads newspapers, knows how the real world works and thinks her bosses a little ridiculous.
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November 15, 2012
Soprano Naomi O’Connell is a comic dynamo as Despina.
The Boston Globe
August 07, 2012
Naomi O’Connell was the outstanding mezzo-soprano, her voice cool, precisely controlled, and perfect for this music.
The Oxford Times
June 20, 2012
Naomi O’Connell and Robert Murray are unbeatable in the principal roles of La Périchole and Piquillo. Their sometimes tempestuous relationship is beautifully observed, and their singing is a joy to listen to. This is O’Connell’s UK operatic debut, and she’s very definitely a name to watch.
Seen and Heard International
June 21, 2012
In the title role and looking delectable, Naomi O’Connell’s creamy tone and elegant phrasing ravished the ear.
The Opera News
June 18, 2012
Making her U.K. opera debut as La Périchole was the Irish, Juilliard-trained mezzo Naomi O’Connell, her streetwise manner and gift for vivid dialogue enhancing a performance that was notable for warmth, clarity and cleanness.  Tenor Robert Murray matched her in vocal style and grace [and] both seized their vocal and dramatic opportunities fully throughout.
music omh
June 24, 2012
It’s hard to imagine how Geoffrey Dolton’s Viceroy, Naomi O’Connell’s Périchole and Robert Murray’s Piquillo could be bettered in these parts…this production is O’Connell’s UK operatic debut, and she is a star in the making. Hardly surprising, given that she’s a postgraduate of the Juilliard who will make her Carnegie Hall debut in 2013.
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February 08, 2012
Naomi O’Connell does a spectacular Lady Macbeth, hurling it virtually through gritted teeth as Callas torments her.
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February 08, 2012
There is one electrifying sequence where the diva’s taunts goad a young soprano into a thrilling retaliatory rendering of an aria [from] Verdi’s Macbeth…
New York Times
April 22, 2012
The three cousins who run that tavern (Lauren Worsham, Naomi O’Connell and Carin Gilfry, all delightful) are sassy yet bored, dressed in short-shorts with aprons as they grill hot dogs for their liquor-swilling patrons.
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April 22, 2013
Mezzo Naomi O’Connell made a standout debut as one of the three supporting ladies.
Brian Zeger, The Juilliard School
November 13, 2012
Song recitals need a strong injection of the authenticity and originality that Naomi O’Connell and Brent Funderburk bring to their performances. Their strong collaboration reaches audiences with a directness that is rare in the concert hall.  I’m always eager to see their programs: fresh and rich with feeling.
New York Times
November 18, 2010
Ottavia, the abandoned empress (Naomi O’Connell, a radiant mezzo-soprano) comes across as a regal and attractive woman, too trusting to see her rapacious husband’s betrayal coming.
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October 07, 2011
Mezzo-soprano Naomi O’Connell’s rich voice beautifully conveyed the sensuality and passion of these wonderful Ravel songs.

Naomi Louisa O’Connell was the outstanding
mezzo-soprano, her voice cool,
precisely controlled, and perfect for this music.

The Boston Globe, 2012