Having started her career as a light-lyric soprano, through recent seasons Sinéad has moved into fuller dramatic repertoire, to roles including Ariadne, Agathe Der Freischütz and Kaiserin Die Frau ohne Schatten. In the Italianate repertoire, Sinéad has sung title role Tosca for Theater Regensburg and for Scottish Opera, and forthcoming will debut the roles of Suor Angelica and Giorgetta Il Tabarro. Sinéad made her Salzburg Festival debut as Vierte Magd Elektra in 2020, returning to the festival the following summer. In the 2021/22 season Sinéad sings Leonore Fidelio and title role Tosca for Irish National Opera, Mimi La boheme for ENO and Leonore on tour in Brussels, London and Paris with Insula Orchestra. In 2022/23, she returns to ENO and INO as Tosca and makes her house debut at the Bayerische Staatsoper as Aufseherin Elektra.

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Beethoven FIDELIO / Insula Orchestra Tour

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BARBICAN CENTRE, LONDON

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"If I’ve heard Leonore’s stupendous recitative-aria “Abscheulicher! Wo eilst du hin?” sung with greater force and nuance than here, when Campbell-Wallace settled into her flickering glimpse of hope, “Komm Hoffnung”, she moved and touched us as some heavier soprano guns do not. ... Campbell-Wallace bloomed gorgeously in the final duet with De Barbeyrac, “O namenlose Freude” – with a lovely catch in her breath as she pronounced “Florestan”.
Boyd Tonkin, The Arts Desk (May 2022)

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"Although not a role debut (she previously sang Leonore with Irish National Opera), Campbell-Wallace’s interpretation of Fidelio/Leonore had real freshness about it. She is a radiant soprano, yet her lower register is so strong (Beethoven does make considerable demands down there, too). Her voice itself is remarkably free, and absolutely equal to Beethoven’s sometimes cruel demands (that final scene!), her stamina remarkable, the pivotal reveal (‘Töt’ erst sein Weib!’) stunning in its vocal heft. The Florestan/Leonore duet, ‘O namenlose Freude!’, found them both at their very best."
Colin Clarke, Seen & Heard (May 2022)

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"In the roles at the centre of the drama, soprano Sinéad Campbell-Wallace and tenor Stanislas de Barbeyrac gave truly engaging performances. ... Campbell-Wallace has a fairly light soprano, but it is generous of colour and strong across the range – her chest voice, which the role challenges, was powerful and rich.  The Irish soprano affectingly communicated Léonore’s determination – the angular intervals of ‘Ich folge dem inner Triebe’ were flexibly shaped – and ‘Abscheulicher!’ conveyed a psychological depth that was absolutely persuasive.  The conjugal bliss of the reunited pair was fervently expressed in ‘O namenlose Freude!’, but even at this emotional peak there were expressive subtleties that made the intensity feel ‘real’ and human."
Claire Seymour, Opera Today (May 2022)

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BOZAR, BRUSSELS

"Sinéad Campbell-Wallace en Léonore marque par sa force de caractère et sa grande versatilité. La soprano qui sait donner la richesse vocale requise mais aussi alléger la tessiture pour traduire son aspiration à la liberté, offre des aigus chauds et pourtant limpides et véloces, des graves profonds et amples. La souplesse de sa diction allemande s'allie à son aisance de jeu, tant dans les parties chantées que parlées."

"Sinéad Campbell-Wallace as Léonore stands out for her strength of character and her great versatility. The soprano who knows how to give the required vocal richness but also to lighten the range to convey her aspiration for freedom, offers warm yet limpid and swift highs, deep and ample lows. The flexibility of her German diction combines with the ease of her acting, in both the sung and spoken parts."

Soline Heurtebise, Olyrix.com (May 2022)
 

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Puccini LA BOHEME / English National Opera

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"And what a revelation this Mimì is – Sinéad Campbell-Wallace makes her ENO debut, and we are sure to see and hear more of her. Elsewhere, she already as Puccini's Tosca under her belt, and Tchaikovsky's Tatyana in Eugene Onegin lies ahead. It's easy to see why, as she conveys in Mimì both fragility and the gleam in her radiant top notes of a glimpse at a brighter horizon. Remember her name."

Claudia Pritchard, CultureWhisper.com (February 2022)

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"First, there was a fine ENO debut from the Irish soprano Sinead Campbell-Wallace as Mimi, the consumptive neighbour who embroiders flowers. She, though, was no shrinking violet. Tuberculosis could kill anybody, sweet or otherwise, and this Mimi seemed independent, self-assured and somewhat ahead of Rodolfo’s seduction game.
Campbell-Wallace is blessed with a big, bright belter of a voice and one suspects Mimi won’t always be her signature role, given the large repertoire that awaits her."
Jessica Duchen, inews.co.uk (February 2022)

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"Holden’s words were routinely muffled until Sinéad Campbell-Wallace’s attentively sung Mimì finally arrived with her blown-out candle — she’s that rare thing, a soprano who makes every word clear."
Neil Fisher, The Times (February 2022)

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"... the sickly seamstress Mimi, was beautifully performed last night by Irish soprano Sinead Campbell-Wallace. Her voice has a wonderful clarity of tone and sense of dynamic control"
Adrian York, London-unattached.com (February 2022)

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THE PUCCINI COLLECTION / scottish Opera gala, caird hall, Dundee

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"The soloists – sopranos Sinead Campbell-Wallace and Catriona Hewison, bass Roland Wood and tenor David Junghoon Kim – really seized the opportunity to make this an evening to remember. ... Kim set the bench-mark pretty high with his opening aria from Manon Lescaut, but the others simply carried on where he left off, Sinead especially. Have I heard a better delivery of Tosca’s Vissi D’arte? Probably not, but that was just one instance of a soprano in peak form."
Garry Fraser, The Courier (December 2021)

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"Sinéad Campbell-Wallace and Wood use the theatricality of the music to their full advantage, turning in perhaps the most evident presence of ‘acting’ along with their singing. Campbell-Wallace projects emotion effortlessly, capturing the ferocity and anguish of Floria Tosca as she desperately sources a way out of the situation whilst still protecting Mario."
Corr Blimey, (December 2021)

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Beethoven FIDELIO / Irish National Opera

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"The story centres on Leonore, magnificently sung by Sinéad Campbell Wallace, who has disguised herself as Fidelio, a guard in a totalitarian prison camp, in order to rescue her husband Florestan (Robert Murray). In modern parlance, Florestan, played by Murray with a stirring performance, was a whistleblower, publicly exposing corrupt prison governor Pizarro (Brian Mulligan), who consequently imprisoned Florestan to shut him up. When the action starts, time is running out as Pizarro is planning to kill his prisoner before an official state visit. This kind of convoluted subterfuge doesn’t always work but Campbell Wallace convinces as Fidelio. Accordingly, we believe it when, in order to find her husband, she worms her way into the affections of Rocco, the senior guard, wonderfully acted and sung by Daniel Sumegi, and even passes herself off as the love interest of his daughter, Marzellia (Kelli-Ann Masterson)."

Fiona Charleton, The Times (November 2021)

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"Sinéad Campbell Wallace was superb in the role of Leonore. She struck just the right balance between concealing her true feelings from her fellow jailors while at the same time expressing her anxiety and desperation about the plight of her husband. In the famous ‘Abscheulicher’ aria she sustained the expressive lines beautifully while at the same time delivering the more dramatic material with gusto. I was particularly impressed with her singing in Act II’s great love duet with Florestan where the blazing joy of deliverance really shone through."
Robert Beattie, Seen and Heard (November 2021)

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"Sinéad Campbell Wallace’s Leonore has a rich, powerful soprano and transforms spectacularly from watchful man into passionate woman."
Katy Hayes, Irish Independent

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"As the ‘male’ title character (before long revealed as the female Leonora, undercover freedom-fighter), soprano Sinéad Campbell Wallace returns to this stage in brilliant form. Always an arresting figure in performance, and a marvellous singer, she inhabits this role with riveting intensity and focus, her voice vibrant and true. Is there no limit to what she can do?"
Michael Lee, GoldenPlec.com (November 2021)

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"Sinéad Campbell Wallace’s debut with the Irish National Opera is a triumph – both for her and the company. ...
At the heart of the whole piece is Campbell Leonore. Her deeply internalised performance is spellbinding, colouring the emotional complexity of ‘Abscheulicher, wo eilst du hin?’ ending in her determination to free Florestan."
Paddy McGovern, No More Workhorse (November 2021)

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"The soprano Sinéad Campbell Wallace brilliantly walks the tightrope between selling her Fidelio persona to her fellow characters while providing the audience with a window into her emotional state as the heroic wife, Leonore"

Michael Dungan, Irish Times (November 2021)

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"Soprano Sinéad Campbell Wallace was a thoroughly convincing Leonore/Fidelio. Her voice is on the light side, but that did not stop her pouring out her soul in her “Abscheulicher” set piece, imbuing it with great sensitivity. Dramatically too, Campbell Wallace conveyed the anguish, the desperation and finally the joy of her character marvellously."
Andrew Larkin, Bachtrack (November 2021)

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"Soprano Kelli-Ann Masterson's (Marzelline) crystal timbre offset by Soprano Sinéad Campbell Wallace's (Leonore) robust and commanding power."Chris O'Rourke, The Arts Review (November 2021)

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Beethoven FIDELIO / National Concert Hall, Dublin

“Sinéad Campbell-Wallace (Leonore) excelled in the demanding role, a real feather in this outstanding singer’s cap”

Business Post (1 March 2020)

“Sinead Campbell-Wallace was a remarkable Leonore, vocally and dramatically....”

Opera Magazine (May 2020)

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Stanford THE VEILED PROPHET / Wexford Festival

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“Soprano Sinéad Campbell-Wallace was parted as Zelica, the focus of Mokanna’s attentions. She was truly excellent in the role and delivered an emotionally expressive performance. Campbell-Wallace possesses an attractive, agile voice, which blooms as it climbs in the upper register. The quality of her phrasing was formidable; clothing her words with well-placed accents, colourful and dynamic flashes enabled her to create a passionate and emotional portrait. So many examples could be cited to illustrate her talent, such as the Act one lament, in which she captured the anguish and fears of seeing Azim sent into battle.”

Alan Neilson, Operawire (November 2019)

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Mascagno ZANETTO / Scottish Opera

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“But it’s easy to sit back and let the swooning melodies overwhelm, especially here given the richly sung performances, Campbell-Wallace’s powerful but burnished soprano sinuously intertwining with Hipp’s seductive darker hues.”

Rowena Smith, The Guardian (September 2019)

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Puccini TOSCA / Theater Regensburg

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“The undisputed star of the evening, however, was quite rightly Sinéad Campbell-Wallace. Her Tosca vibrated with sensuality, intensity and violence that almost seemed to frighten her. The vocal scale ranged from softly placed pianissimi through a well-articulated middle voice to an electrifying top that resonated powerfully in the space – outstanding.”

NMZ Online, Juan Martin Koch (September 2019)

“The Irish soprano Sinéad Campbell-Wallace had already sung the title role most convincingly at the open-air performance in the summer and rose to great form once again. Vocally, it was all you could wish for: she has a touching intensity that carried through into her emotional acting.”

BR Klassik, Peter Jungblut (September 2019

“Sinéad Campbell-Wallace was a vocally superior Tosca, totally convincing in all things musical, from the height of jealousy to murder, from the throws of love to suicide.”

Mittelbayerische, Claudia Böckel (September 2019)

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Puccini TOSCA / Theater Regensburg (Theater im Hafen)

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“And with a Tosca like Sinéad Campbell Wallace, anything is possible. The more dramatic, the better  –  that such a level of singer is engaged in Regensburg, speaks volumes for the house; she is indestructible, stunning, thrilling”

Süddeutsche Zeitung, Egbert Tholl (July 2019)

“…the grandiose singing of Sinéad Campbell Wallace in the title role…”

Mittelbayerische, Peter Geiger (July 2019)

“Sinéad Campbell Wallace was captivating as Tosca with initial ferocity above the stave and with delicate pianissimi in “Vissi d’arte”

NMZ Online, Juan Martin Koch (July 2019)

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Verdi GALA / Lyric Opera at National Concert Hall

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“Soprano Sinead Campbell Wallace impressed with her technical skill, especially in “Pace, pace, mio Dio” (La forza del destino), as well as for her beauty.”

thesidebalcony.com (30 May 2017)

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Handel RADAMISTO / Northern Ireland Opera

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“Sinéad Campbell-Wallace, the evening’s most sumptuous and rounded voice, made absolutely the most of the plaintive oboe-accompanied ‘Quando mai’ (with rapturously lyrical accompaniment by the young Royal Philharmonic principal John Roberts) and the cello-led ‘Deggio dunque’.”

criticscircle.com (9 May 2017)

“It's Zenobia who faces the greatest challenges in the drama and it's important that the strength of her resolve remains consistent with her inner humanity in order for the conclusion to be credible, and that was all there in Campbell-Wallace's singing.” Radamisto, Northern Ireland Opera.” 

Keris Nine, OperaJournal.ie (16 May 2017)

“The biggest roles, both male and female, were taken by women, with Doreen Curran and Sinéad Campbell-Wallace both in impressive form as Radamisto and Zenobia.”

Michael Dervan, The Irish Times (17 May 2017)

“Miraculously, Sinéad Campbell-Wallace (Zenobia) manages to break free of these constraints to give a wonderful, impassioned performance. Her experience also shows through in her ability to project her text to the audience, a known challenge in this space which others in the cast find difficult, leaving much of Christopher Cowell’s translation inaudible.”

Michael Lee, Goldenplec.com (15 May 2017)

“Soprano Aoife Miskelly’s hard done by Polissena is beautifully evoked, as is the Mary Pickford/Lillian Gish lookalike Zenobia, beautifully realised by Soprano Sinéad Campbell-Wallace, with both sopranos delivering some exquisite, vibrant solos throughout.” 

Chris O'Rourke, theartsreview.com (12 May 2017)

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