© Frances Marshall
SINÉAD CAMPBELL-WALLACE
SOPRANO
Having started her career as a light-lyric soprano, through recent seasons Sinéad has moved into fuller dramatic repertoire, to roles including Leonore Fidelio, Ariadne, Agathe Der Freischütz and Kaiserin Die Frau ohne Schatten. In the Italianate repertoire, Sinéad debuted the title role of Tosca last season, with future debuts including the title role Suor Angelica, Giorgetta Il Tabarro and title role Madama Butterfly.
News
Company debut at the Salzburg Festival
This summer, Sinéad Campbell-Wallace will make her Salzburg Festival debut as Vierte Magd in Krzysztof Warlikowski's new production of Elektra with the Vienna Philharmonic conducted by Franz Welser-Möst. Sinéad performs alongside Ausrine Stundyte in the title role, Tanja Ariane Baumgartner as Klytämnestra, Asmik Grigorian as Chrysothemis and Michael Laurenz at Aegisth. Due to COVID-19 social distancing restrictions, there will be no chorus in this production and the opera will be performed without interval.
Elektra premieres on 1 August and will be live streamed into cinemas across Austria, Germany and Switzerland, with live-delayed broadcasts on Arte Concert and ORF radio OE1.
Performances take place in the Felsenreitschule on 1, 6, 10, 16, 21, 24 August.
Click here for more info.
Media
Repertoire Includes
OPERA
BEETHOVEN
Fidelio (Leonore)
MOZART
Le nozze di Figaro (La Contessa)
Don Giovanni (Donna Elvira)
Die Zauberflöte (Erste Dame)
Così fan tutte (Fiordiligi)
BIZET
Carmen (Micaela)
PUCCINI
La Bohème (Mimi, Musetta)
Suor Angelica (Suor Angelica)
Il Tabarro (Giorgetta)
Tosca (Tosca)
Madama Butterfly (Butterfly)*
VERDI
La traviata (Violetta)
HANDEL
Alcina (Alcina)
Radamisto (Zenobia)
KALMAN
Die Herzogin von Chicago (Mary Lloyd)
MASCAGNI
Zanetto (Silvia)
STANFORD
The Veiled Prophet (Zelica)
STRAVINSKY
The Rake’s Progress (Anne Truelove)
STRAUSS R
Ariadne auf Naxos (Ariadne)
Die Frau ohne Schatten (Die Kaiserin)
Elektra (Vierte Magd)
VON WEBER
Der Freischütz (Agathe)
WAGNER
Die Walküre (Helmwige)
Siegfried (Brünnhilde)
Y SOLER
Una Cosa Rara (Isabella)
Concert
BEETHOVEN
Ah, Perfido! Per pieta non dirmi addio
BERLIOZ
Les Nuits d’Eté
BRAHMS
Requiem
GOUNOD
Gallia
Messe solennelle de Sainte Cecile
MAHLER
Rückertlieder
POULENC
Gloria
ROSSINI
Petite Messe Solennelle
Stabat Mater
STANFORD
The Veiled Prophet
STRAUSS
Vier letzte Lieder
VERDI
Requiem
Press
Beethoven FIDELIO / National Concert Hall, Dublin
“…a largely Irish cast in which Sinéad Campbell-Wallace (Fidelio) 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)
Stanford THE VEILED PROPHET / Wexford Festival
“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)
Mascagno ZANETTO / Scottish Opera
“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)
Puccini TOSCA / Theater Regensburg
“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)
Puccini TOSCA / Theater Regensburg (Theater im Hafen)
“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)
Verdi GALA / Lyric Opera at National Concert Hall
“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)
Handel RADAMISTO / Northern Ierland Opera
“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)
Puccini LA BOHÈME / Opera Theatre Company
“Sinead Campbell-Wallace excelled as a spirited Musetta”
Opera Magazine (May 2016)
“Outstanding tonight is Sineád Campbell-Wallace as the vampish Musetta. Offering a tremendous performance both physically and vocally, it is impossible to look away while she is on stage.”
Michael Lee, Goldenplec.com (15 May 2016)
“Sinéad Campbell-Wallace shines vocally as Musetta”
Michael Dervan, The Irish Times (18 May 2016)
