"Irish mezzo-soprano Naomi Louisa O’Connell was a wistful, other-worldly Mélisande." - Musical America, Pelléas et Mélisande with the Cincinnati Symphony, 2017
"A natural in the recital format, winning over the audience with her rich, silvery voice and charming stage presence." - The New York Times
'Naomi Louisa O’Connell does a spectacular Lady Macbeth, hurling it virtually through gritted teeth as Callas torments her.' - The Times. Terrence McNally's Master Class, 2012 West End production.
"Coloratura to the gills, O’Connell is, inescapably, the big hit of this production." - Roderic Dunnett, The Arts Desk. Offenbach's Vert-Vert at Garsington Opera, 2014.
"Naomi Louisa O’Connell develops compellingly from the first play as her feisty, resourceful Rosine becomes the elegant, subdued, self-doubting Countess." - The Star-Ledger. The Figaro Plays at McCarter Theatre, 2014.
“Naomi Louisa O’Connell was marvellous in the trouser role of Cherubino, sparkling with her glorious arias . . . ” - The Art Scene in Wales. The Marriage of Figaro at Welsh National Opera, 2016.
Naomi stars in world premiere LEAST LIKE THE OTHER with Irish National Opera
Naomi returns to Ireland for the world premiere of LEAST LIKE THE OTHER, an explosive and thought–provoking work of experimental music theatre, tracing the fragmented events of the life of Rosemary Kennedy. She will be joined by a cast of two actors, Stephanie Dufresne and Ronan Leahy, and a chamber ensemble of fourteen musicians in this premiere production, presented by the Galway Arts Festival. Composed by Brian Irvine and directed by Netia Jones, the piece will be conducted by Irish National Opera’s artistic director Fergus Sheil.
Pulitzer Prize-winning composer Ellen Reid’s RUN delights audiences
In RUN, a short operatic scene performed in a hybrid jungle gym/sound sculpture designed by Ellen Reid, ICE percussionists Ross Karre and Clara Warnaar teamed with mezzo-soprano Naomi Louisa O’Connell, with the former playing on swings, slides, and chains as the latter intoned chant-like melodies through a length of metal pipe. More to do with the stylization of childhood curiosity than with any concrete narrative, the work alternated rhythmic episodes with reflective, ambient passages in which a wide-eyed O’Connell traversed different parts of the installation while singing in a dark, rich timbre. – Andrew Stock, I Care If You Listen, 5/2/19
Les Enfants Terribles production captivates Omaha’s ONE Festival audiences
Naomi Louisa O’Connell epitomized this [gender] fluidity in her performance as Dargelos and Agathe. The mezzo soprano’s vocal tone was dark enough to pull off both the female and male roles, and she was serving serious, androgynous Miranda from Sex and the City vibes with her red hair and power stance. O’Connell played Dargelos with a cold demeanor that had me hooked into the story immediately. Her portrayal of Agathe was softer but equally captivating.
– Meghan Klinkenborg for SCHMOPERA, April 7th, 2019
Opera Omaha ONE Festival. Photograph by Adam Larsen.
Placet futile – Ravel (Trois Poèmes de Stéphane Mallarmé)
Ich bin von Kopf bis Fuss auf Liebe eingestellt - Friedrich Hollaender. With Brent Funderburk, piano. PBS recital broadcast, Peoria IL, 2018.
And Her Golden Hair Was Hanging Down Her Back - McGlennon/Rosenfeld Metropolitan Museum Live Arts Series, 2016
Happy those who, placing their delight
In slight things, are never deprived
Of each day’s natural fortune!
– Fernando Pessoa (translated Richard Zenith)
A conversation with….CHRIS BERG.
September 30, 2013
Over a cup of coffee at Café du Soleil on the Upper West Side, Naomi chats with composer Chris Berg about his love for poetry, his work and life in New York City. This interview gives us a brief insight into the man behind the compositions.
Ten Songs to Stop You In Your Tracks
February 11, 2014
Ten songs: all different, all wonderful in their own delicious, wacky way. They never fail to stop me in my tracks when they come on my iPod.
Well worth a listen!
Hailed by The New York Times as “radiant,” Irish actor/singer Naomi Louisa O’Connell made her critically acclaimed stage debut opposite Tyne Daly on London’s West End in Terrence McNally’s play Master Class, produced by Sonia Friedman at the Vaudeville Theatre in 2012. The Times called her performance “…spectacular,” and The Independent lauded her “…thrilling rendering of an aria from Verdi’s Macbeth.”