Mazeppa
Opera Ireland, Dublin, Ireland

Das Opernglas
May, 2009

"In particular, Sinéad Mulhern had an extremely successful role debut as Maria, very impressive proof for her extraordinary potential in the lyric-dramatic fach. The soprano, who was engaged Fest for some years at the Komische Oper Berlin and who was recently heard as Violetta there, has full command of vocal agility and a very secure technique. The voice is just as capable of great emphasis as when it is required to sing an internalised piano which carries without effort. This was used with great effect in the incredibly touching lullaby which brings the opera to such a tragic end.....the big scene between Mother and daughter was the breath-taking high point of the performance. Grandios!"

La Traviata
Komische Oper, Berlin, Germany

Opera Magazine
March 2009

"...Violetta was Sinéad Mulhern, a former ensemble member and a very expressive singer.....'Amami, Alfredo', was devastatingly moving, seconded to the hilt by St. Clair and the orchestra."

Le Vin Herbé
Ruhrtriennale, Duisburg, Germany

Frankfurter Allgemeine Zeitung
4 September, 2007

"….both of the main characters are movingly young and physically flexible in their gestures, the most fascinating of all, with her controlled vibrato in the legato line, was the Irish soprano Sinéad Mulhern…."

Die Fledermaus
Komische Oper, Berlin

klassik-in-berlin
15 July, 2007

"…in her Fest position at the Komische Oper, Sinéad Mulhern has already sung challenging roles like Zerlina and Jenufa. With Rosalinde, she has now successfully crested the next vocal hurdle. Mulhern’s soprano - as the Czárdas exemplarily demonstrated – has developed wonderfully. This does have consequences – she too will now leave the ensemble of the Komische Oper…."

Manon
Reisopera, The Netherlands

Financieele Dagblad
October, 2006

"Mulhern’s rendering is totally in accordance with her role. Furthermore, she has but to open her mouth and the most gorgeous sounds flow out with an ease and a beauty that leaves one in total envy. A perfect sound with a fine vibrato."

Manon
Reisopera, The Netherlands

NRC Handelsblad
October, 2006

"In the titlerole – that demands an accomplished vocal technique – Sinéad Mulhern develops with greatest ease from a young girl into a society star and finally into a pitiful woman."

Jenufa
Wiener Staatsoper, Vienna

Wiener Kurier
2 May, 2006

"The sudden illness of the soprano scheduled to sing, lead to the much celebrated Wiener Staatsoper debut of the young Irish soprano, Sinéad Mulhern. This artist, who is currently performing at the Komische Oper in Berlin, possesses a beautiful, slender, pure-timbred, well-produced soprano and her interpretation of Jenufa is most believeable. Because of this, Mulhern seduces, touches and turn Jenufa’s destiny, (with flawless German!), into a drastic experience. A successful Vienna debut."

Eugene Onegin
Komische Oper, Berlin

klassik.com
3 March, 2006

"Mulhern is a Tatyana of the highest calibre. She can play a young, childlike, passionate and vulnerable role and still mange to capture the controlled emotions of a character that is all the more tragic. Her soprano flirts, sparkles and oscillates between jubilating heights only to be plunged by sad, dark gloominess into a brooding and self-doubting piano. She delivers a performance that is musically a starlit sheen on a grieving basecoat."

La Bohème
Komische Oper, Berlin

Mundoclassico.com
10 January, 2006

"Now to the Irish soprano Sinéad Mulhern whose interpretation of Tatyana, in June, really impressed me. This young singer demonstrates that she can sing, without any problem, one of the most demanding roles of the lyric soprano repertoire. Her ‘’Mimì’’ was sung with good line and good phrasing but more than anything, had the security of a good technique"

Eugene Onegin
Komische Oper, Berlin

Süddeutsche Zeitung
May, 2005

"…leading the cast is the wonderful Sinéad Mulhern. Her Tatyana sounds, even when emotions surge, never pressured, never exalted; This melancholic, touching yet soulful voice never needs to indulge in over-sentimentality for it to fulfill its’ passionate expression-filled interpretation."

Jenufa
Komische Oper, Berlin

Opera Magazine
March 2004

“…..Sinéad Mulhern’s radiant but tormented Jenufa…… …. Jenufa’s scene immediately after the abduction profited not solely from the technical mastery and beauty of Mulhern’s singing, nor from her intense acting. Rather these were doubly effective because they fed off the high human drama that had preceded them.”

Jenufa
Komische Oper, Berlin

The Financial Times
24 November, 2003

”…..has precisely the combination of innocence and depth that the title role demands, and a voice capable of representing Jenufa's huge emotional journey without ever losing its purity of tone.”

Jenufa
Komische Oper, Berlin

Tagesspiegel
18 November, 2003

"… the Jenufa, Sinéad Mulhern, is of course the only singer from whom one feels her longing. After a hesitant beginning, the Irish soprano acquires more and more colours to her gracious soprano and consequently, is capable of showing the maturity that the heroine gains through the piece."

Le Nozze di Figaro
Glyndebourne Touring Opera

Oxford
December 2001

“….the singing is, of course, uniformly excellent, especially from the ladies, whose voices contrast and complement each other perfectly…. Sinéad Mulhern's Countess is wonderfully rich and sympathetic…..”