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'Owen Gilhooly by contrast, as the resourceful Figaro, inhabited the role with charm and ease and sang with warm tone and clear projection...
'Some of the most stylish singing of the evening came from the Irish baritone Owen Gilhooly as the wily Malatesta. In his Act I aria “Bella siccome un angelo” (“Down from among the angelic host”) his embellishments were as welcome as they were surprising and he showed a fine sense of line. His voice seems the right size for this sort of role and I reckon he’d make a fine Dandini in La Cenerentola '
'Owen Gilhooly is brilliant as Malatesta, Pasquale’s agent determined to take the Don down a peg or two. Strong-voiced and fluent, Gilhooly oozed charm and confidence'
'The opera plays in English without surtitles and Owen Gilhooly makes every word intelligible' 'What makes a real difference is the singers’ commitment to timing and text, particularly in the case of Owen Gilhooly as the wily fixer Malatesta' Evening Standard/ Sadlers Wells Theatre / March 2010
'And I like Owen Gilhooly’s clearly articulated singing as the Machiavellian Malatesta' 'Here the evil genius is Owen Gilhooly as Don Pasquale's slimy agent, Malatesta'
'..there are likeable performances from Mary O’Sullivan as Norina, Nicholas Sharratt as Ernesto and Owen Gilhooly as a manipulative Malatesta, with diction as crisp as his Edwardian frock-coated suit'
'Romani and (Parry's) tongue-twister patter holds no terror for Gilhooly, a Malatesta with style as well as skill'
'His firm vocal control completely suited his role as the scheming originator of the plot'
'Baritone Owen Gilhooly's Malatesta is a fine foil to the flamboyant Pasquale, and their patter song duet Cheti Cheti is superb
'Owen Gilhooly sparkled as Malatesta'
'A lot in Don Pasquale depends on Malatesta, the wily schemer, the organizer, the man of business who orchestrates the whole deception. Owen Gilhooly proved to be solid in the part, with a firm baritone line and a good sense of attack that the ensembles certainly needed'
'Irish singers, Owen Gilhooly and Mary O’Sullivan shone in this production, comfortable in both their music and their scheming characters'
'Owen Gilhooly, meanwhile, as the fixer Malatesta, was the calm centre around which the madness revolved'
'Kishani Jayasinghe, Krisztina Szabo, Owen Gilhooly and Dominic Armstrong bring their own distinctive vocal personalities to light among the rest of Wexford's excellent team' Opera Today / www.operatoday.com
' however he was well matched by Owen Gilhooly’s lively depiction of Figaro…text was always clear with an added bonus of Figaro’s melodious guitar accompaniment… No comic miming from this thorough musician..’ '..Owen Gilhooly... was a fine and lively Figaro..'
'In the title role Irishman Owen Gilhooly shines' ' Owen Gilhooly (as Don Chisciotte) convinces with courageous stamina' '…The Irishman Owen Gilhooly….. manufactures this tragedy with touching voice'
‘…Owen Gilhooly’s very stylishly sung Count…’ ‘ Owen Gilhooly’s Count and Stephanie Corley’s Countess were as vocally blue-blooded as their roles...’
‘Owen Gilhooly was a characterful Konečny’
'Owen Gilhooly is excellent as Bob (and particularly when Bob hits the bottle)'
'Of the soloists, baritone Owen Gilhooly was easily in front: a superbly rich voice which adapted to the different moods throughout the piece'
'Mahler’s Lieder eines Fahrenden Gesellen was heard in the Schoenberg chamber arrangement with Owen Gilhooly the fiercely expressive soloist' It was preceded by Mahler's song-cycle “Lieder eines fahrenden Gesellen” ‘.....Owen Gilhooly was on hand for a performance of manifest commitment and expressive intensity’
'It may be that Gilhooly's ability to play the guitar sparked the idea of using the instrument as more than set dressing and he does actually accompany Niall Morris as Count Almaviva at one point...Gilhooly is a charasmatic performer who was completely at ease with the comic role of Fiagaro as the wheeling and dealing jobbing barber...His singing in buoyant and full of character and sets the standard for the whole cast..' 'Owen Gilhooly, playing the part of Figaro, entered the stage from behind the audience and proceeded to win them over with his roguish performance and amazing voice' 'Owen Gilhooly's suitably manipulative Figaro finds a far more satisfying balance between energy and musical style.'
'.. there was some beautiful singing from Ailish Tynan and Owen Gilhooly....' 'Anna Stephany (Daughter), Owen Gilhooly (Bridegroom/Husband/Father) and Jonathan Lemalu (Doctor/Policeman/Stranger) gave welcome performances that successfully conveyed the fateful spirit of the piece '
'So perverse is even the fairest competition system that it's often the ''losers'' who go on to make the real careers. So watch out too for...... Owen Gilhooly..(inter alia)...among many others'
‘Owen Gilhooly supplied vocal weight as Capellio, the implacable head of the family and ultimate domineering father.’ ‘Her dad (Owen Gilhooly, very Godfather-like) is the villain of the piece.’
“Owen Gilhooly, drafted in at short notice, made a fiery Polydorus in Part One, a more gentle Joseph for the rest of the evening” “Owen Gilhooly – replacing Darren Jeffery – was confident” “As Mary & Joseph, Anna Stephany & Owen Gilhooly(standing in at short notice for the indisposed Darren Jeffery) gave intelligent & accomplished interpretations & their voices blended sympathetically in their poignant Scene Three duets ”
Owen Gilhooly was a powerful presence who gave the evening some glorious moments”
“The casting was excellent with a well balanced team of singing actors who achieved really convincing characterisations in music and dialogue... Owen Gilhooly's Don Fernando carried a quiet authority”
“The cast was uniformly excellent... Owen Gilhooly suggested Eckbert's growing paranoia to scarifying effect” “From the start, Eckbert (compelling sung by Owen Gilhooly) senses that there's something wrong, but can't grasp what it is.” “Owen Gilhooly is powerful as the increasingly fraught Eckbert” “Owen Gilhooly cut a tragic, Wozzeck-like figure as poor Eckbert” “Owen Gilhooly's Eckbert and Mark Wilde's Walther are a pair... Gilhooly and Wilde are very convincing performers..” “the cast of Owen Gilhooly, Mark Wilde, Heather Shipp and Claire Wild is excellent” “Owen Gilhooly and Heather Shipp excel as Eckbert and Berthe” “Owen Gilhooly's Eckbert, Heather Shipp's Berthe and Mark Wilde's Walther - bumbling botanist and false friend all sing splendidly” “..the performances are excellent... Owen Gilhooly is the tortured Eckbert”
“Baritone Owen Gilhooly as Don Jose combines spontaneous expression with luxuriously mature tone.”
“The Fench Soprano Chntal Mathias sang splendidly as Marguerite, as did Irish singers (inter alia) Owen Gilhooly (Valentin)”
“Owen Gilhooly found nobilty in the deposed Froila” “In the senior roles of Froila and Mauregato, Owen Gilhooly and James Harrison both made an appreciable mark”
“…among the Elders and their wives, [Owen] Gilhooly (Ott), Frances McCafferty (Mrs Ott) and Anna Burford (Mrs McLean) stood out as perfectly etched cameos.” “Vocal standouts were (inter alia) Gilhooly as the con man Don Parmenione…”
“Alison Roddy and Owen Gilhooly were equally good as the second pair of lovers. Gilhooly’s Marcello was well sung and acted. His warm baritone was the strongest of the male voices.”
“Owen Gilhooly was an impish Dandini and his vocal work was impressive.” “…his Italianate high baritone is rich in timbre and exciting in prospect.” “Owen Gilhooly’s comic baritone role of Dandini was a joy from start to finish.”
“The casts — including Owen Gilhooly as Philoctetes, Julian Tovey an overweening Odysseus, Louise Mott a frowsty Penelope and Donna Bateman a vampish Kalypso… — are outstanding too.” “Owen Gilhooly was suitably tormented as the wounded hero.” “Owen Gilhooly really creates a flesh and blood being out of the bitter and twisted Philoctetes.”
“Outstanding among the soloists were the Evangelist, Neil Mackie (tenor), Pilate, Roderick Williams (baritone) and bass, Owen Gilhooly (Christus).”
“In fact, the Irish born baritone, Owen Gilhooly, in the demanding role of Elijah was awesome.”
“Owen Gilhooly played this part to perfection, oozing confidence and charisma on his first appearance as he descended a ladder onto the stage.” “As for Figaro, the omnipresent barber of the title role, he was played by the urbane Owen Gilhooly as a designer–stubbled hairdresser.” “Owen Gilhooly is a sexy, impudent Figaro.” “Owen Gilhooly makes Figaro a power house of confident virility.” “Owen Gilhooly is a masterful Figaro, driving the action with a commanding presence and ringing tones.” “Owen Gilhooly was a lively, likeable Figaro.” “The real figure of the opera however, is Owen Gilhooly’s sturdy Figaro.”
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