Celine Byrne
Irish soprano Celine Byrne makes her debut this season at Opera Ballet Vlaanderen in the title role Madama Butterfly with performances in Antwerp and Ghent. Recent highlights include a highly successful revival in the role of Mimi La Boheme at her home company, Irish National Opera, Butterfly on the Lake Stage at Bregenz Festival, and highly successful concert appearances in Bangkok alongside Jose Carerras and Joseph Calleja. Other principal roles at INO include Micaela Carmen and Marschallin Der Rosenkavalier, a role she also sang in Chile at Santiago’s Theater Municipal, and she made debuts at Staatstheatre Hamburg and Luzerner Theater as Mimi.
Past successes include the artist’s US opera debut as Magda La Rondine at Minnesota Opera; in Germany at Staatstheater Kassel she appeared as Butterfly and revived the role at Irish National Opera in a highly lauded production that included a live television broadcast. She sang the role of Marietta/Marie Die Tote Stadt with RTÉ National Symphony Orchestra in the National Concert Hall, Dublin.
“Celine Byrne was spectacularly good as the doomed Mimì. She brought intimacy and tenderness to the opening act and was highly convincing depicting Mimì’s deterioration and fragility in the final scene. The singing was perfectly calibrated to the action with Byrne bringing an enormous range of colour to the vocal line and soaring passions to Puccini’s great love scenes. ‘Si, mi chiamano Mimì’ was wonderfully nuanced and delivered with a ravishing tone. I loved the way Byrne conveyed the increasingly lost and desolate feelings of the character as the opera progressed.” Seen and Heard International, 19/03/2021 by Robert Beattie https://seenandheard-international.com/2021/03/social-distancing-is-no-bar-to-an-excellent-la-boheme-from-irish-national-opera/
“However, it was the glorious voice of soprano Celine Byrne and her thoroughly convincing portrayal of the doomed Cio-Cio-San that made last night’s staging such a spectacular triumph.”
Bachtrack, Andrew Larkin, 25 March 2019
As Magda, the high society mistress of a powerful Parisian, Irish soprano Celine Byrne proves the ideal match for Puccini’s demanding arias. The composer asks for several soft upper-register entrances, and Byrne made each swoon-inducing with her impeccable control and tenderness.
Pioneer Press, Rob Hubbard, 7 October 2018
| J. Benedict | Ann Chute (Lily of Killarney) |
|---|---|
| G. Bizet | Micaela (Carmen) |
| A. Catalani | Wally (La Wally) |
| A. Dvorak | Rusalka (Rusalka) |
| C. Gounod | Margeurite (Faust) |
| E. Korngold | Marietta/Marie (Die Tote Stadt) |
| F. Lehar | Anna Glavari (The Merry Widow) |
| R. Leoncavallo | Nedda (I Pagliacci) |
| W.A. Mozart | Countess Almaviva (Le Nozze di Figaro)
Donna Elvira (Don Giovanni) |
| G. Puccini | Magda (La Rondine)
Mimi (La Boheme) Liu (Turandot) Tosca (Tosca) Cio Cio San (Madama Butterfly) Lauretta (Gianni Schicchi) |
| Strauss | Marschallin (Der Rosenkavalier) |
| G. Verdi | Elizabetta (Don Carlo) |
| Wagner | Ortlinde (Walküre) |
| R. Vaughan Williams | Nora (Riders to the Sea) |
| C. M. von Weber | Agathe (Der Freischutz) |
| J. Brahms | Requiem |
|---|---|
| G. Faure | Requiem |
| G.F. Handel | Messiah |
| J. Korngold | Drei Lieder op. 18 |
| G. Mahler | Symphony No. 4
Ruckert Lieder |
| F. Mendelssohn | Elijah
St. Paul |
| W.A. Mozart | Missa in C (Coronation Mass)
Missa Brevis in B flat (K275) Requiem |
| R. Strauss | Vier letzte Lieder |
| Verdi | Requiem |
Contact
Deborah Sanders
Founder and Director
deborah@arbourartists.com