Bartók BLUEBEARD’S CASTLE (Irish National Opera)

‘The music is matched in performance by the Kerry-born mezzo-soprano Paula Murrihy as Judith in a rare Irish interlude from her burgeoning American and European career. From the softest whisper to her high C at the opening of the castle’s fifth door, and in Bartók’s deliberate mismatch between Judith’s initial optimism and the dark oppression of the orchestra, Murrihy thrills with her voice while fully inhabiting her symbolic assignment with her presence.’
Michael Dungan, The Irish Times (Oct 2018)

‘Murrihy with her crystalline mezzo-soprano perfectly delivered the ambivalent Judith, morbidly attracted to the tenebrous side of her husband and willing to prove him bad at every cost’
Pia Maltri, Bachtrack (Oct 2018)

‘Paula Murrihy as Judith is a marvel to behold, giving an impassioned and physically-committed performance, her voice rich and expressive, full of colour.’
GoldenPlec: Live Reviews, (Oct 2018)

‘Murrihy and Bloom’s singing delights in this treatment of the Bluebeard legend. Their skillful and relaxed delivery is enchanting and the live orchestra dramatically accentuates the twists and reveals of the story. ‘
Tricia O’Beirne, The Reviews Hub (Oct 2018)


Britten GLORIANA (Teatro Real, Madrid)

‘warmly incisive yet softer grained in a way that suggested a more innocent character caught up in the intrigue around her’
John Allison, Opera Magazine (June 2018)


Handel CHRISTMAS ORATORIO (Scottish Chamber Orchestra)

“Neal Davis the bass-baritone, young English soprano Soraya Mafi and Irish mezzo Paula Murrihy were the other ingredients of a superb cast with the latter’s solo arias, especially the well-known Schlafe, mein Liebster, particular highlights.”
Keith Bruce, Herald Scotland (4 Dec 2017)


Mozart LA CLEMENZA DI TITO (Orchestra of the 18th Century)

“Irish mezzo Paula Murrihy, a memorable Octavian at the DNO two years ago, returned to Amsterdam as a fantastic Sesto. Her unaffected, expressive acting and honey-toned mezzo-soprano, warm and  agile, fitted the passionate but hapless character as a glove. She made of her Act 1 aria “Parto, parto”, when Sesto announces to Vitellia he is going to get on with it, the pivotal moment of the opera.”

Nicolas Nguyen, Bachtrack (20 Oct 2017)


Handel ALCINA  (Santa Fe Opera)

“There was a good deal of excellent singing. Mezzo-soprano Paula Murrihy, in her house debut, was superb as Ruggiero. She brought the total package to the part both vocally and dramatically: beautiful timbre, gorgeous phrasing, sophisticated singing technique, sensitivity to what we understand of Baroque style. Her aria “Mi lusinga il dolce affetto” was a showstopper of an Andante (or an Andante-larghetto, as Handel called it), so captivating that one could almost ignore Alden’s overlay of extraneous activity. Ditto her top-drawer performance of “Verdi prati,” which confirmed her mastery of sustained line. She was splendid in florid singing, too, as in her aria “Sta nell’ircana pietrosa tana,” where she negotiated challenging coloratura and even inflected some of it with surprising staccatos.”
James M. Keller, Santa Fe New Mexican, (30 July 2017)

“As Ruggiero — the latest victim of Alcina’s predatory romantic practices and in many ways the opera’s protagonist — the Irish mezzo-soprano Paula Murrihy gave an especially impressive performance, marked by understated expressivity and vibrant tone.”
Joshua Kosman, SFGate, (31 July 2017)

“Paula Murrihy’s Ruggiero captured the emotional complexity Alden clearly intended, decoding the young man’s conflicting emotional loyalties.”
Thomas May, Bachtrack, (30 July 2017)

Handel SEMELE (Handle & Haydn Society, Boston)

“The versatile mezzo-soprano Paula Murrihy pulled her weight and more, singing the role of Semele’s sister Ino with innocent grace and soft-edged phrases and transforming into the imperious Juno with rage written on her face and venom lacing her voice.”
Zoë Madonna, Boston Globe (May 2017)


CARMEN (Frankfurt Opera)

“Paula Murrihy sang and danced with quite versatile magic, conveying herself as a virtuoso of the highest order.”
Hansklaus Jungheinrich, Frankfurter Rundschau (June ’16)

“Paula Murrihy with her vocal magic, presence and precision, ease and sex appeal is an equal to [Joseph Calleja as Don José].”
Josef Becker, Bild Frankfurt (June ’16)

“Paula Murrihy threw herself with great passion in her debut, and showed plenty of character, mischievous spirit and even deliberate provocation.”
Musik Heute (June ’16)

“Paula Murrihy sings and plays a sadistic Carmen. Fantastic! …Murrihy brings to the role a flexible, versatile voice – sometimes big, particularly strong, soft and supple – a voice in which one can detect emotion at every second. Murrihy sings this Carmen like a song, a fine embodiment of the role, on one long breath, word perfect.”
Natascha Pflaumbaum, Deutschlandradio Kultur (June ’16)

“The focused, often imploringly soft and whispering Paula Murrihy… is a perfect medium and a willing projector for Kosky’s at times operatic, at times tragic variation on the legendary archetype we think we know.”
Manuel Brug, Die Welt (June ’16)

“…The singers were on top form throughout, with Paula Murrihy foremost in the title role – her ‘femme fatale’ character not too forced, rather quite naturally interpreted.”
Michael Dellith, Frankfurter Neue Presse (June ’16)

“Paula Murrihy in the title role is a harmonious and balanced vocal powerhouse, with a full, warm mezzo-soprano timbre which continually emphasises the undertones of the character.”
Stefan Michalzik, HNA (Hessische-Niedersächsische Allgemeine) (June ’16)

“Irish mezzo-soprano Paula Murrihy, with her flexible and well guided timbre, took centre stage. Her agile performance left nothing to be desired. She presented an exceptional theatrical interpretation of Carmen, which set new standards.”
Lars-Erik Gerth, Maintal Tagesanzeiger (June ’16)

“Paula Murrihy as Carmen must be declared a triumph, bringing full vocal expressive potential to the reduced orchestral score, showing that Carmen can be more than erotic – so much more.”
Bernd Zegowitz, Rhein-Neckar-Zeitung ((June ’16)

“Paula Murrihy is found on stage non-stop in the title role, apart from countless rapid movements and scene changes which illustrate the complexity of the production. She remains relentlessly in the spotlight with eloquent expressiveness – hunting, creeping, crawling over the stage, dancing with the ensemble and singing easily and flexibly, just as is required of the role. She embodies an almost inexhaustible range of characteristics: sexy, saucy, lascivious, seductive, cold blooded, self-centred, stubborn, strong. Her greatest and most convincing success is that central Carmen characteristic – eroticism, which radiates from her at every moment.”
Christiane Franke, Opernnetz (June ’16)


DER ROSENKAVALIER (De Nationale Opera, Amsterdam)

“Brilliant, electrifying and youthfully vital  was the Octavian of Paula Murrihy . The young singer also captivated scenically as a committed credible Rosenkavalier.”
M. Fiedler, Opernglas (Sept 2015)



“Octavian was shiningly sung by Paula Murrihy…with her lustrous, soprano-ish mezzo”
Opera Magazine (Sept 2015)



“Murrihy was especially affecting with a penetrating mezzo that was agile and rich.”
Matthew Richard Martinez, Bachtrack (October 2014)

“Murrihy is remarkable, the embodiment of love turned to pain and ultimately death. Her final lament (as direct by Kosky) provides one of the most heartrending scenes you will ever see.”
Jim Farber, LA Daily News (October 2014)


BENVENUTO CELLINI – English National Opera

“Yet Paula Murrihy almost stole the show. bringing trouser-role swagger to Ascanio and singing with a focused mezzo and enough vocal dash to hold the stage in her ebullient solo”
John Allison, Opera Magazine (August 2014)

“Paula Murrihy’s ringingly pure-toned Ascanio”
Michael Church, The Independent (6th June 2014)