In the 2019-20 season, Irish soprano Celine Byrne makes her debut at Opéra National de Paris as Ortlinde in the Calixto Bieito production of Wagner’s Die Walküre under the baton of Philippe Jordan. She will also sing Mimì in Puccini’s La bohème at the Staatsoper Hamburg with director Guy Joosten before repeating the role at Opera Idaho, Micaëla in Bizet’s Carmen at the Irish National Opera conducted by Kenneth Montgomery, and Liù in Puccini’s Turandot with Oper im Steinbruch at St. Margarethen. Additional season highlights for Ms. Byrne include performances with José Carreras at the Thailand Cultural Centre in Bangkok as part of the International Festival of Music and Dance for the tenor’s Global Farewell Concert Tour and she is joined by the RTE Concert Orchestra for her annual Christmas Gala at the Bord Gáis Energy Theatre in Dublin.
Ms. Byrne opened her 2018-2019 season as Magda in Minnesota Opera’s new production of La rondine. She also sang the Marschallin in Der Rosenkavalier at the Teatro Municipal de Santiago opposite Sophie Koch and starred in new productions of Madama Butterfly at the Irish National Opera and Staatstheater Kassel. In concert, she performed Marie in Korngold’s Die Tote Stadt with the RTÉ National Symphony Orchestra, as well as the annual Christmas Gala in Ireland.
In the 2017-2018 season, Ms. Byrne sang the title role of Tosca with the Mikhailovsky Opera, St. Petersburg in a production that she reprised in Dublin. Additional highlights included Donna Elvira in Kasper Holten’s production of Mozart’s Don Giovanni with the Israeli Opera, Elisabetta in Verdi’s Don Carlo with Oper Leipzig, and returned to Mozart for Countess Almaviva in a new production of Le nozze di Figaro at the Theater Bonn. In concert, Ms. Byrne sang Verdi’s Requiem with the Prague Radio Symphony Orchestra conducted by André Lenard (recorded for commercial release), Richard Strauss’s Vier letzte Lieder in Austria, and gala concerts with the Prague Philharmonic Orchestra and the Sun Valley Summer Symphony.
Ms. Byrne came to international prominence in 2012, when she sang the title role of Dvorak’s Rusalka at the Royal Opera House, Covent Garden on short notice. Since then, she has returned to Covent Garden as Micaela in Carmen and the first Blumenmädchen in a new production of Wagner‘s Parsifal. Recent highlights include Countess Almaviva, Marschallin, and Marietta in Korngold’s Die Tote Stadt at the Staatstheater Kassel, Liù at the Oper Leipzig and Deutsche Oper am Rhein, Düsseldorf, Elisabetta in a new production of Verdi’s Don Carlo at the Deutsche Oper am Rhein, and Cio-Cio-San in Madama Butterfly at the Moscow State Opera. She is also familiar to both Irish and international audiences for her concert appearances with José Carreras, Roberto Alagna, Joseph Calleja, and Bryn Terfel, with whom she recently sang alongside the Borusan Philharmonic Orchestra.Read more
A native of Kildare, Ireland, Ms. Byrne received her Masters in Music from the Royal Irish Academy of Music in 2007, where she studied with Dr. Veronica Dunne, also receiving the RIAM award for outstanding achievement. In addition, she has an honors Music Degree from the Conservatory of Music and Drama, Dublin, where she was awarded the college Gold Medal for excellence. She has received coaching at the National Opera Studio of London and has studied with Christa Ludwig at the Wiener Staatsoper. Her awards include the First Prize and Gold Medal at the Maria Callas Grand Prix, Athens, the Margaret Burke-Sheridan Gold Medal in 2009, the William Young Prize at the Veronica Dunne International Singing Competition, Dublin 2007, and the ‘Brabants Dagblad Press Prize’ at the IVC International Singing Competition in s’Hertogenbosch, the Netherlands.
“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.”
“Byrne’s voice was certainly the most striking of the evening, its pellucid quality bound to melt even the most obdurate man.”
“Her mesmerizing piano tones („Abend sinkt im Hag“) and her warning that is sung from the rear of the stage are breathtaking. The soprano masters tremendously well also as an actress.”