Reviews

For Kitty Hart (Dead Man Walking, Opera Ireland); "The four members of the two victims families were excellently characterized by Sandra Oman, Deirdre Cooling-Nolan, Martin Higgins and Eugene Ginty." Opera Magazine March 2008

For Eunice Hubbell (A Streetcar named Desire): "There were also sharp performances from...Sandra Oman as hear-all neighbour Eunice Hubbell." Sunday Business Post, November 26, 2007

For Kitty Hart (Dead Man Walking, Opera Ireland); "Irish singers excelled themselves as the parents...Sandra Oman...all made telling contributions." Sunday Business Post, November 25, 2007

For Elvira (Don Giovanni, Cork Opera 2005): "There are passages which are pure magic and some outstanding performances... Sandra Oman (Donna Elvira)... a delight." Irish Examiner, October 5, 2007

For Elvira (Don Giovanni, Cork Opera 2005): "...commendable performances from Riccardo Simonetti as Don Giovanni and Sandra Oman as Donna Elvira." Evening Echo, October 4, 2007

For Despina (Cosi Fan Tutte, Opera Ireland): "Sandra Oman (Despina) proved once again that she has the secure voice, confidence and stage craft to be noticed in the best of company. This was an important and meaty role and Oman did it full justice". Sunday Business Post, June 3, 2007

For Despina (Cosi Fan Tutte, Opera Ireland): "Despina the maid, played by Sandra Oman, owns the stage whenever she is on it." Metro, May 30, 2007

For Despina (Cosi Fan Tutte, Opera Ireland): "Sandra Oman plays the maid Despina with style and alacrity." The Irish Times, May 29, 2007

For Opera Gala, National Concert Hall (Culwich Choral Society): "Of the six principal singers involved, only the aforementioned O'Brien and soprano Sandra Oman impressed....Oman gave a moving account of Mimi's Act One Maria from La Boheme and soared lyrically in the Lucia sextet." The Irish Times, May 2, 2007

For Micaela (Carmen): "Impressive, once again, was soprano Sandra Oman as the ditched Micaela. Oman has natural stage craft that never strives for attention yet always captures it. Her singing of the heart-breaker Micaela's aria was a highlight." Sunday Business Post, February 18, 2007

For Elvira (Don Giovanni): "Sandra Oman as Elvira showed great virtuosity, as in her fiery Handelian aria and in the Quartet, superbly enhanced by her convincing portrayal of the deluded enamorata." Malcolm Miller, Music "sion, October 10, 2006

For Elvira (Don Giovanni): "Sandra Oman brings Irish fire to the role of the jilted Elvira". Gloucestershire Echo, June, 2006

For Tisbe (La Cenerentola): "Irish sopranos Sandra Oman and Eimear McNally as the not-so-ugly sisters avoided the temptation to descend into pantomime and did full justice to their limited singing duties." Sunday Business Post, April 30, 2006

For Susanna (The Marriage of Figaro): "Dublin soprano Sandra Oman has made a huge impression with audiences in recent years and her starring role as the hard-worked (in aria terms) Susanna in Lyric Opera's production of Mozart's The Marriage of Figaro at Dublin's National Concert Hall last month will have won her many new admirers....she performed with elan." Sunday Business Post, March 12, 2006

For Mimi (La Boheme): "Sandra Oman...was one of the stars of La Boheme in the role of Mimi. Not only does the young soprano possess a wonderful and effortless range, her acting skills are also impressive. Sandra's Mi Chiamano Mimi was one of the highlights of this opera". Waterford News and Star, January 27, 2006

For Flora (La Traviata): "Sandra Oman was an impressive Flora". Opera Magazine, March 2006

For Despina (Cosi Fan Tutte): "Sandra Oman was a wonderful servant girl and minx as Despina". Waterford News and Star, February 10, 2006.

For Flora (La Traviata): "Sandra Oman sparkled among the lesser roles. The Dublin soprano's lightness of touch perfectly suited the flighty Flora." Sunday Business Post, December 4, 2005.

For Susanna (The Marriage of Figaro): "Irish soprano Sandra Oman's Susanna dominated the ensemble. Her strongly enunciated, characterful singing, coupled with a confident stage presence was one of the best features of the evening." Opera Now magazine, July/August, 2005.

For Papagena (Magic Flute): "The excellent cast had much to do with the success:..Steffen Kubach's Papageno was all one could wish for - lively, witty and excellently sung; and Sandra Oman was a fine foil as Papagena." Opera magazine, June 2005 and Sunday Tribune, April 17, 2005

For Papagena (Magic Flute): "There is good work from...Sandra Oman's perky Papagena". The Sunday Times, April 17, 2005.

For Papagena (Magic Flute): "The comic characters are given hyperactive rolls and turns, which Steffen Kubach's Papageno and Sandra Oman's Papagena bring off to good effect." The Irish Times, April 4, 05.

For Liu (Turandot): "As the tragic Liu, Sandra Oman had the one verifiable Puccini role around and she delivered with conviction. Her second aria, notable for exquisite and flawless control on the top notes was heart-rendingly effective. A fine performance."  Sunday Business Post, Feb 13, 2005

For Liu (Turandot) : "Sandra Oman, as the slave-girl Liu, sang her two arias with poised serenity and consistently sweet tone ; and she more than held her own in the Act 3 confrontation with the merciless Princess." Irish Times, February 9, 2005

For Mabel (Pirates of Penzance): "Sandra Oman was remarkable in 'Poor Wandring One', with extra coloratura compliments of Donizetti. Indeed the singing was excellent throughout ". Sunday Tribune, September 5, 2004.

Also for Mabel (Pirates of Penzance) : "There were good vocal and acting performances from Sandra Oman and Paul Byrom as the young lovers. Both were at their best in the tender second act love duet " Irish Times, August 27, 2004.

For Rychtarka (Jenufa):  "Et des seconds roles, on distinguera surtout la femme du maire, la jeune soprano irlandaise, Sandra Oman" Opera International, Juin 2004.

For Gilda (Rigoletto): "The bigger challenge, perhaps, was for Irish soprano Sandra Oman as Gilda, Rigoletto's doomed daughter. Oman was also having the bar raised to a personal best, this being her most important operatic role so far. She sailed over impressively, even thrillingly, confidently overcoming the demanding three-in-a-row challenge at the end of act one when she sings duet with Rigoletto, then with the Duke and ends with the famous lovelorn aria Caro Nome - which she delivered superbly." The Sunday Business Post, March 7, 2004.

Also for Gilda (Rigoletto): "Sandra Oman was well able to match him with a convincing portrayal of Gilda, musically and dramatically".these sterling performances". The Sunday Tribune, March 14, 04

Also for Gilda (Rigoletto): "Sandra Oman, by contrast, offered a fully rounded character, both vocally and dramatically, maintained a steady flow of secure lyric soprano singing. Her coloratura in 'Caro Nome' was neatly negotiated and she conveyed a genuine feeling of pathos in her death scene". The Irish Times, March 1, 2004.

For Clothilde (Norma): "Sandra Oman and ..were impressive comprimario choices. Opera Magazine, March 2004. Also The Sunday Tribune, November 30, 2003

For Clothilde (Norma): "As Clothilde, Sandra Oman also added to a growing reputation". The Sunday Business Post, November 30, 2003.

For Clothilde (Norma): "like Sandra Oman as Clothilde... was vocally reliable and always good to listen to". The Irish Times, November 21, 2003.

For Musetta (La Boheme): "Sandra Oman was a splendidly pert Musetta". The Sunday Tribune, November 1, 2003.

For Recital in Bank of Ireland Arts Centre, Dublin, Ireland: "Of all the elements that go to make up a successful song recital, the most important ones are tonal beauty, assured musicianship and, above all, good communication. These three were delivered in abundance by soprano Sandra Oman and pianist Mairead Hurley at the Bank of Ireland on Tuesday. Oman's facility with italianate cantilena was immedialy made evident by her smooth singing in the opening selection of four Bellini songs. In the Richard Strauss set that followed, this smoothness was augmented by a richness in the singer's lower register that was matched by the pianist's addition of extra tonal warmth to her already authoritative playing. The passion engendered, especially in the central numbers Wiegenlied and Allerseelen, bordered on the overwhelming. Some of Rachmaninov's finest music is found in his songs, and the three offered here restored a sense of calm to the proceedings. In the second of them, the one known in english as How Fair this Spot, Oman's execution of the difficult leap up to the soft high B natural was exquisite. .. The concert ended in humorous mood with a splendid rendering of Bernstein's droll mini-cycle I hate music in which Oman's comic gift matched the clear delivery of words that had served her well, in five different languages, throughout the evening." The Irish Times, September 22, 2003.

For Musetta (La Boheme): "Director Michael Hunt must take credit for some inspired casting, particularly in Sandra Oman as Musetta. Sandra Oman supplied all the colour, warmth and humour necessary". Declan Townsend, Irish Examiner, June 18th, 2002

For Recital in Armoury Arts Centre, Dublin, Ireland: "Sandra Oman sang with plenty of passion".She brought to Strauss 'Die Nacht, Schlechtes Wetter, Wiegenlied, Zueignung and Allerseelen' a poise and restraint that gave these songs a sense of freshness and innocence that they seldom attain, well known as they are"Duparc's Chanson Triste was quite seductive in its curving vocal line, and the singer, here as elsewhere, was eager to communicate the message of the words". The Irish Times, September 20th, 2002.