​Sylvia O'Brien soprano

​Irish soprano Sylvia O’Brien has forged a remarkable career defined by artistic curiosity, interpretative daring, and a rare ability to move fluidly between the worlds of opera, concert repertoire, chamber music, and contemporary creation. A performer of striking dramatic intelligence and vocal versatility, she has become one of Ireland’s most compelling voices—equally at home in the classical canon and at the forefront of new music.

O’Brien first came to prominence with her critically acclaimed debut as the Governess in Britten’s The Turn of the Screw with Opera Theatre Company in 2004, a performance that immediately marked her as an artist of exceptional depth. That same year she reprised the role at the Buxton Festival with English Touring Opera under Michael Rosewell, launching a two‑year period of extensive touring throughout the UK in demanding roles such as Konstanze in Die Entführung aus dem Serail, the Gräfin in Der Wiener Blut, and Jenůfa, She recorded the title role in Martinů’s Mirandolina for the Wexford Opera Festival, and soon after created Gabriel in Gerald Barry’s The Bitter Tears of Petra von Kant with the National Symphony Orchestra of Ireland—a role to expose her fearless musicianship and crystalline upper register.

Working with such conductors as Philippe Jordan, Alexander Annisimov, Gerhard Markson, Stefan Asbury, Dmitri Slobodeniuk, Alan, Pierson, and Levi Hammer, her operatic repertoire continued to expand with performances as  Proserpina (Orfeo/Monteverdi),  Aspasia (Mitridate), Mabel (The Pirates of Penzance) and Countess Almaviva (Le Nozze di Figaro). Between 2007 and 2013 she was a regular soloist in Gilbert and Sullivan gala performances with members of the D’Oyly Carte Opera Company, displaying a comic flair that complements her dramatic gravitas. In 2012 she made her debut as Turandot, a role she returned to in 2020, bringing to Puccini’s icy princess a vocal brilliance and psychological nuance that drew wide acclaim. Recent seasons have featured Anne Truelove (The Rake’s Progress), Donna Anna, Fiordiligi, Lucia di Lammermoor, Tosca, and La Rondine, confirming her as a soprano of remarkable stylistic breadth.  Upcoming roles 2026/27 include her debut as Brünnhilde in Wagner's Die Walküre conducted by Levi Hammer and Götterdämmerung.

O’Brien’s concert career is equally distinguished. She has appeared with major orchestras across Europe, including the NDR Radio Philharmonie, Ulster Orchestra, Irish Chamber Orchestra, Orchestra of St Cecilia, and the Irish Concert Orchestra. Her repertoire spans the great sacred and symphonic works: Mozart’s C‑minor Mass, Requiem, and Exsultate Jubilate;  Die Schopfung (Haydn) in Holland , Verdi’s Requiem; Bach’s St John Passion; Rossini’s Petite Messe Solennelle; Orff’s Carmina Burana; and Glière’s virtuosic Concerto Op 82 for Coloratura Soprano. She has performed and conducted Britten’s Les Illuminations with Evlana, and brought her interpretative sensitivity to Berlioz’s Les Nuits d’Été, Chausson’s Poème de l’amour et de la mer (The Hague & Deventer, Holland), and Shostakovich’s Symphony No. 14 in Tilburg, Nono’s Il Canto Sospeso in Milan, and Shostakovich’s Seven Romances Op107 at Carnegie Hall and Villa‑Lobos’s Bachianas Brasilieras No 5 and Wagner's Liebestod in the Concertgebouw, Amsterdam.

Throughout her career, O’Brien has curated countless recital programmes to include French, German, Russian, Spanish and English repertoire, collaborating with Isabelle O’Connell, Hannah Shybayeva, Charles Owen, Hugh Tinney, Prya Mitchell, Guy Johnston, John O’Connor, Seoirse Bodley, Grieg Piano Trio, Keith Pascoe, and Christopher Marwood.

A defining strand of O’Brien’s career is her profound commitment to contemporary music. She is widely regarded as a leading interpreters of new vocal repertoire, celebrated for her technical command, intellectual clarity, and emotional fearlessness. She has premiered works by many of Ireland’s most significant composers, including Seóirse Bodley, Raymond Deane, Siobhán Cleary, Sean Doherty, and Brian Irvine. She has given the Irish and Finnish premieres of Morton Feldman’s monodrama Neither. Additional premieres include Joseph Phibbs’ Silence at the Song’s End (Aldeburgh), Kevin O’Connell’s Apollo and Marsyas (Crash Ensemble), Michel van der Aa’s Here (in circles), and Claude Vivier’s Lonely Child. Upcoming performances in 2026 include Judith Weir’s King Harald’s Saga, George Crumb’s Apparition, and John Corigliano’s Mr Tambourine Man.

O’Brien is a founding member of Evlana, Ireland’s contemporary sinfonietta ensemble, which champions new music and provides a vital platform for Irish composers and performers. Her work with Evlana reflects her belief that contemporary music is not a specialist niche but a living, essential part of the musical landscape.  www.evlana.com

Alongside her performing career, O’Brien is a respected pedagogue. Awarded a Doctor of Music from Trinity College Dublin, she serves as Professor of Voice at the Royal Irish Academy of Music, where she specialises in vocal technique, French mélodie, opera and contemporary repertoire. She curates the RIAM's Contemporary Vocal Techniques programme and is active internationally as a masterclass artist, adjudicator, external examiner, and contributor to the Society for Musicology in Ireland.​​​​​​