Sonya Keogh Reviews
Hansel and Gretel
Cork Opera House, 18-22 May 2005
Sonya Keogh as Mother/Witch was a lynchpin of the show.
Munster Express, 27 May 2005
Sonya Keogh played two roles, those of mother and witch, and in each she was evidently enjoying the challanges. Her singing and acting were simply outstanding.
Flor Dullea, "Superb Opera House production of ' Hansel and Gretel' opera", Southern Star, 26 May 2005
However, mezzo soprano Sonya Keogh as the mother and the witch is a powerful presence.
Colette Sheridan, Irish Examiner 21 May 2005
However, this is an opera of some contrasts, not all of which are managed by the orchestra, although by the second act the playing is united and strong for a score which gives mezzo soprano Sonya Keogh, staunchly partnered by Adrian Powter, some terrific moments as both mother and witch.
Mary Leland, Irish Times, 20 May 2005
Madam T
Everyman Palace Theatre, Cork, 21-30 April 2005
This is a bordello opera and the impressive singing is performed by Sonya Keogh, soprano, who plays Madam T (private).
Colette Sheridan, Irish Examiner, 23 April 2005
Riders to the Sea Vaughan Williams
John Field Room, National Concert Hall, 12 July 2003
The Anna Livia Opera Fringe Festival closed its week-long series of events with a splendid presentation of Vaughan Williams' Riders to the Sea at the John Field Room on Saturday morning. Vaughan Williams set J. M. Synge's text almost word-for-word and created a miniature music drama whose emotional intensity belies its modest scale. It's a work that poses all sorts of difficulties for young singers, but this cast rose magnificently to the challenge in a taut staging by John McKeown. The long silence that preceded the applause at the end testified to the impact made on the capacity audience. In the central role of the stoically grieving Maurya, the mother whose six sons have perished at sea, Sonya Keogh was outstanding. She conveyed all of the bereaved woman's dignity and warmth, and she used her splendid mezzo to dominate her scenes as this character should.
John Allen, Irish Times, 14 July 2003
The Veronica Dunne European Union Singing Competition Irish Final
National Concert Hall, 14 September 2002.
Cork mezzo Sonya Keogh sang arias by Rossina and Donizetti with richness and control.
Michael Dungan, Irish Examiner, 24 September 2002.
Madame Butterfly
Opera Cork, Cork Opera House, March 2001.
Two performances stood out for me on the night. Sonya Keogh is a splendid Suzuki and the necessary unifying force throughout as she shields her mistress from the truth. Here is a voice that matures like a good wine with every appearance. She interprets a role with intelligence and to great effect.
Declan Hassett, 'Applause says it all ... ', Irish Examiner, 2 March 2001.
Sonya Keogh was a suitably protective Suzuki, singing and acting expressively in her big scenes with Butterfly.
Gus Smith, 'This Madama Butterfly is vocally impressive', Sunday Independent, 4 March 2001.
Carmen
Opera Cork, Cork Opera House, December 2000.
Indeed there was a buzz about this production that I haven't experienced in Cork for some time. One of the reasons was, I feel, the adequate filling of the secondary roles and in this regard Pat Doherty (Zuniga), Emma Kate Tobia (Frasquita) and Sonya Keogh (Mercedes) were real assets.
Gus Smith, 'Opera finds new direction in Cork', Sunday Independent, 3 December 2000.
Sonya Keogh (mezzo soprano) & Julian Milford (piano)
St Barrahane's Church '20th Festival of Classical Music', Castletownshend, Cork.
It is one of the joys of a reviewer's life to observe the growth and emergence of young artists. In Sonya Keogh's case I have enjoyed this development greatly. She has a well cultivated legato with a wide range and demonstrates a total involvement in what she is singing. The result of her immersion in the music ensures the total involvement of the listener also.
Declan Townsend, 'Musicians make the most of a busman's holiday', Irish Examiner, 16 August 2000.
'Opera Spectacular'
City Hall, Cork, May 2000.
Mezzo Sonya Keogh possesses a voice to note and continues to catch the attention of opera lovers. She was excellent in Alas Those Chimes from Maritana and her Habanera and Seguidilla from Carmen had great colour and warmth.
Declan Hassett, 'Good cause for an evening of song', Irish Examiner, 31 May 2000.
Maritana
Waterford Theatre Royal Society, Waterford Theatre Royal, April 2000.
I loved Sonya Keogh's Lazarillo.
Declan Hassett , 'A show-stopping night', Irish Examiner, 13 April 2000.
Sonya Keogh as Lazarillo sang an excellent "Alas Those Chimes".
Liam Murphy, Munster Express,14 April 2000.
One of the highlights of the evening was undoubtedly the Act II duet, Sainted Mother sung most appealingly by Mary Hegarty and Cork mezzo Sonya Keogh.
Gus Smith, Sunday Independent, 23 April 2000.
La Traviata
Opera Cork, Cork Opera House, February 2000.
There were no weak links in the minor roles. Sonya Keogh (Flora) sang and played convincingly.
Declan Hassett, Cork Examiner, 10 February 2000.
'Cara in Concert'
Cork Opera House, December 1999.
The impressive Sonya Keogh made her Opera House debut...
Declan Hassett, Cork Examiner, 2 December 1999.
Listening to Keogh, I was reminded of Cara O' Sullivan, who can, and has, made us cower at the back of St. Peter's.
André Jute, 'The true Messiah', Cork Examiner, 1 April 1999.
We've noticed Keogh's fine emotional comprehension and control before. Brahm's Two Songs for Voice, Viola and Piano opus 91 gave us another opportunity to appreciate her [...]. Keogh, a fine actress, belted out a rollicking version of Jack and Jill by Diack, this time "with the assistance of Mr. Handel". The church rocked in uncontrollable laughter.
André Jute, 'A classical variety show', Cork Examiner, 27 April 1999.