© Frances Marshall
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 for L'Opéra de Lille. Looking futher ahead, she will make her role debut as Tatiana Eugene Onegin.
Fidelio at Irish National Opera
We are delighted to announce that Sinéad Campbell-Wallace and Dean Power will appear together in their home city of Dublin as Leonore and Jaquino in Irish National Opera's production of Fidelio, directed by Annabelle Comyn. Along side Sinéad and Dean, Robert Murray takes the role of Florestan, with Fergus Sheil conducting the orchestra of INO. The production opens at the Gaiety Theatre, Dublin on Sunday, 7th November with further performances on 9th, 10th, 12th and 13th November.
In December, Sinéad will appear in a Puccini Gala concert at Caird Hall, Dundee for Scottish Opera before travelling to London, where she takes the role of Mimi in English National Opera's production of La bohème at the London Colisuem which opens in the New Year. Later in the season, Sinéad will reprise the role of Leonore for Opéra de Lille.
Dean joins the cast of Fidelio after opening his 21-22 season with Irish National Opera, in their new commission and the world premiere of The First Child by Donnacha Dennehy and Enda Walsh. Later in the season he sings Snout A Midsummer Night's Dream for Opéra de Lille, and makes his company debut at the Salzburg Festival.
For further information visit the Irish National Opera website.
Le nozze di Figaro (La Contessa)
Don Giovanni (Donna Elvira)
Così fan tutte (Fiordiligi)
La Bohème (Mimi)
Suor Angelica (Suor Angelica)
Il Tabarro (Giorgetta)
Madama Butterfly (Butterfly)*
La traviata (Violetta)
Die Herzogin von Chicago (Mary Lloyd)
The Veiled Prophet (Zelica)
The Rake’s Progress (Anne Truelove)
Ariadne auf Naxos (Ariadne)
Die Frau ohne Schatten (Die Kaiserin)
Der Freischütz (Agathe)
Die Walküre (Helmwige)
Una Cosa Rara (Isabella)
Ah, Perfido! Per pieta non dirmi addio
Les Nuits d’Eté
Messe solennelle de Sainte Cecile
Petite Messe Solennelle
The Veiled Prophet
Vier letzte Lieder
Beethoven FIDELIO / Irish National Opera
"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)
"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)
"Sinéad Campbell Wallace’s Leonore has a rich, powerful soprano and transforms spectacularly from watchful man into passionate woman."
Katy Hayes, Irish Independent
"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)
"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)
"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)
"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)
"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)
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)
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 Ireland 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)