© Barbara Aumüller

Paula Murrihy

Mezzo-Soprano

Irish mezzo-soprano Paula Murrihy enjoys a busy career working at the highest level in both Europe and the US. Previously a member of the ensemble at the Oper Frankfurt, Paula’s roles have included creating the title role Carmen in Barry Kosky’s iconic production, Octavian Der Rosenkavalier, Dido Dido and Aeneas, title role Pénélope and Polissena Radamisto. Her appearances have also included Stéphano Roméo et Juliette at the Metropolitan Opera, Ruggiero Alcina for Santa Fe Opera, title role Ariodante at the Bolshoi Theatre in Moscow, Conception L’Heure Espagnole for the Opernhaus Zürich, Donna Elvira at the Concertgebouw and Idamante Idomeneo for the Salzburg Festival.

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Artist Manager

Camilla Wehmeyer

camilla@wehmeyermanagement.com

Associate

Evangeline Parker

evangeline@wehmeyermanagement.com

 

© Peter Dazeley

 

News

Paula Murrihy sings Berlioz in Limerick and Dublin

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Paula Murrihy sings Berlioz Les Nuits d'’été with the Irish Chamber Orchestra, conducted by Thomas Zehetmair.

With performances on 21 October at the National Concert Hall in Dublin and 22 October at the University Concert Hall Limerick, the programme includes Mozart Symphony No. 31 in D major, or, 'Paris Symphony',  and Kinsella Nocturne for Cello & String Orchestra.

Following performances in Ireland Paula will returns to the US to join The English Concert with a tour of Alcina in Los Angeles and San Francisco.

Further information can be found on the Irish Chamber Orchestra website here.

Posted 20/10/2021

 

Media

 

Repertoire Includes

Concert

BACH

Mass in B Minor

Christmas Oratorio

St John Passion

St Matthew Passion

Easter Oratorio

Ascension Oratorio

BEETHOVEN

Missa Solemnis

Symphony No. 9

HANDEL

Messiah

Alexander’s Feast

Semele

Solomon

HARBISON

Symphony No. 6

HAYDN

Harmoniemesse

Missa in Tempore Belli

Paukenmesse

HILLIER

The Destruction of Jerusalem 

 

HONNEGER

Judith

        

MAHLER

Das Knaben Wunderhorn

Das Lied Von der Erde

Lieder Eines Fahrenden Gesellen

 

MENDELSSOHN

Elijah 

MOZART

Reqiuem

PERGOLESI

Stabat Mater

ROSSINI

Petite Messe Solennelle

SCHUBERT

Mass in C

VIVALDI

Gloria

Opera

BARTÓK

Bluebeard’s Castle (Judith)

BERLIOZ

Benvenuto Cellini (Ascanio)

BIZET

Carmen (Carmen)

BRITTEN

Albert Herring (Nancy)

Gloriana (Frances Countess of Essex)

CAVALLI

La Calisto (Diana)

CESTI

Orontea (Orontea)

CHABRIER

L’etoile (Lazuli)

Une Education Manquée (Helene)

CORIGLIANO

Ghosts of Versailles (Cherubino)

DE FALLA

El Corregidor Y La Molinara

DONIZETTI

Lucia Di Lammermoor (Alisa)

FAURÉ

Pénélope (Pénélope)

GLUCK

Ezio (Fulvia)

GOUNOD

Roméo Et Juliette (Stéphano)

HANDEL

Alcina (Ruggiero)

Ariodante (Ariodante)

Giulio Cesare (Cesare)

Radamisto (Polissena)

Semele (Juno/Ino)

Xerxes (Amastre)

HUMPERDINCK

Hänsel Und Gretel (Hänsel)

MONTEVERDI

Orfeo (Messagiera)

MOZART

Cosi Fan Tutte (Dorabella)

La Clemenza Di Tito (Annio)

Die Zauberflöte (2nd Lady)

Le Nozze Di Figaro (Cherubino)

OFFENBACH

Les Contes D’hoffmann (Nicklausse)

PASATIERI

Hotel Casablanca (Lucy Perez)

PROKOFIEV

The Gambler (Blanche)

PUCCINI

La Rondine (Suzy)

PURCELL

Dido & Aeneas (Dido)

The Indian Queen (Teculihuatzin)

RAVEL

L’enfant Et Les Sortileges (La Chatte/ L’Ecureuil)

L’heure Espagnole (Concepción)

ROSSINI

Il Viaggio A Reims (Maddalena)

J. STRAUSS

Die Fledermaus (Orlofsky)

R. STRAUSS

Der Rosenkavalier (Octavian)

STRAVINSKY

The Rake’s Progress (Baba the Turk)

SUSA

Transformations (Good Witch)

VERDI

Don Carlo (Tebaldo)

Falstaff (Meg Page)

La Traviata (Flora)

 
 

Press

Handel SAMSON / The English Concert

"we believed every word she sang, and each phrase was beautifully, intelligently, and emotionally shaped.  It helped that she sang with warm, well-modulated tone and her contribution to the final mourning sequence for Samson provided a movingly dignified conclusion to a very fine performance indeed."

Robert Hugill, Opera Today (Oct 2021)
 

“as Micah, Paula Murrihy revealed a beautiful, brilliantly controlled and impeccably phrased sound.”

Sam Smith, MusicOMH (Oct 2021)
 


Handel ARIODANTE / Royal Opera House, Covent Garden

“In the title role, Paula Murrihy has both the immaculate sense of line needed for Scherza Infida and a superb coloratura technique that makes Dopo Notte quite dazzling.”

Tim Ashley, The Guardian (Nov 2020)

"It’s the title character rather than her devilish nemesis who gets the best tunes in Ariodante, however, and Irish mezzo-soprano Paula Murrihy ate them up. Over an aching bassoon obbligato her great lament “Scherza infida” opened on a moment of anger that faltered to practically nothing as she succumbed to grief. By contrast, she delivered the climactic “Dopo notte” with rapturous delight, each florid run coursing like a surge of laughter through her spirit."
Mark Valencia, Bachtrack (Nov 2020)

"Here the role was taken by the Irish mezzo-soprano Paula Murrihy who gave an utterly convincing performance of real musical and dramatic stature. Ariodante’s initial confident joy was pushed aside by an anguish that seemed soul-consuming but was itself superseded by ecstasy.  Assured and accomplished, Murrihy made the virtuosic passage seem ‘easy’ and natural, the long runs shaped with an impressive evenness, and had apparently boundless stamina."
Claire Seymour, Opera Today (Nov 2020)

"Dressed simply in black Murrihy was a suitably dashing presence as the opera’s hero, even in the concert setting. She tackled all the role’s technical demands with great assurance and facility. Handel’s florid writing held no terrors for Murrihy, and she handled all the most treacherous runs with consummate ease from her opening radiant ‘Qui d’amor’, then the demanding ‘Con l’ali di costanza’ that was the tour de force it must be, to her highlight – for me at least – ‘Scherza infida’ that was intimate, heartfelt, plaintive and quietly resolute as she confronted Ginevra’s apparent infidelity."
Seen and Heard International (Nov 2020)

"Leading the way is Irish mezzo Paula Murrihy in the title role, by turns proud, tender and desperate, tossing off a top note of defiance, or a dying cadence in Scherza infida, beautifully offset by a melancholy bassoon, to touch the heart."
Colin Davison, British Theatre Guide (Nov 2020)

Mahler LIEDER EINES FAHRENDEN GESELLEN / Britten Sinfonia

 

“Paula Murrihy, at very short notice, stood in for Anna Stéphany, took a lyrical view of the texts, the German words flowed gracefully, and the consonants were treated softly. Her flexible voice gave an Italianate impression of the lyrics and the frustrated lover’s reference to the “sweet bird singing in the green heath” was a touching moment. In the final song, ‘Die zwei blauen Augen’, taken at an unhurried pace, refinement of playing and hushed beauty of melodic line typified Mark Elder’s sensitive view of the music.”

Antony Hodgson, Classical Source (Jan 2019)

“Murrihy slipped into a partnership with the orchestra – with confident, bright-toned, even cheeky, woodwinds to the fore – that let these dialogues of doom unroll in all their strangely exhilarating morbidity. Murrihy wrapped sweetness around anguish in the yearning high notes of “Ging heut’ Morgen über Feld”. She wrung every inch of melodramatic colour from the lurid misery of “Ich hab’ ein glühend Messer”, and sailed powerfully across the sinister orchestral tutti as that song closes. The farewell pathos of “Die zwei blauen Augen von meinem Schatz” signed off the sequence, with the soothing lilt and swing of the instrumental parts undercut by the mezzo’s plaintive lament – like the forsaken call of some widowed forest bird.”

Boyd Tonkin, The Arts Desk (Jan 2019)

Bartók BLUEBEARD'S CASTLE / Irish National Opera

“Murrihy with her crystalline mezzo-soprano perfectly delivered the ambivalent Judith, morbidly attracted to the tenebrous side of her husband and willing to prove him bad at every cost”

Pia Maltri, Bachtrack (Oct 2018)

 

“Paula Murrihy as Judith is a marvel to behold, giving an impassioned and physically-committed performance, her voice rich and expressive, full of colour.”

GoldenPlec: Live Reviews, (Oct 2018)

Mozart LA CLEMENZA DI TITO / Orchestra of the 18th Century

 

“Irish mezzo Paula Murrihy, a memorable Octavian at the DNO two years ago, returned to Amsterdam as a fantastic Sesto. Her unaffected, expressive acting and honey-toned mezzo-soprano, warm and  agile, fitted the passionate but hapless character as a glove. She made of her Act 1 aria “Parto, parto”, when Sesto announces to Vitellia he is going to get on with it, the pivotal moment of the opera.”

Nicolas Nguyen, Bachtrack (Oct 2017)

“Paula Murrihy’s Ruggiero captured the emotional complexity Alden clearly intended, decoding the young man’s conflicting emotional loyalties.”

Thomas May, Bachtrack, (July 2017)

Bizet CARMEN / Oper Frankfurt

 

“Paula Murrihy sang and danced with quite versatile magic, conveying herself as a virtuoso of the highest order.”

Hansklaus Jungheinrich, Frankfurter Rundschau (June ’16)

 

“Paula Murrihy with her vocal magic, presence and precision, ease and sex appeal is an equal to [Joseph Calleja as Don José].”

Josef Becker, Bild Frankfurt (June ’16)

Photos