"Athletically precise in both his body language and singing, McCarthy relishes the wit in Jeremy Sams’ translation of the libretto."
Yehuda Shapiro, The Stage, on Don Giovanni (Waterperry Opera Festival 2018)
"Oskar McCarthy was particularly brilliant in the role of Don Giovanni’s servant, Leporello. He brought a mischievous humour and wit to the character, breaking up the tragedy and counterbalancing Don Giovanni’s abhorrent behaviour with his humanity. "
Everything Theatre on Don Giovanni (Waterperry Opera Festival 2018)
"Oskar McCarthy is an amiable Papageno, strong on humour without over-egging his opportunities"
Hastings Observer on The Magic Flute (Opera Anywhere 2018)
"All the principals adopted Irish brogues, none more successfully than Oskar McCarthy's impetuous Bartley, as he prepared to ride to his death."
Opera Magazine (February 2018 edition) on Riders to the Sea (Midsummer Opera 2017)
"Oskar McCarthy’s portrayal of Robert’s increasing anxiety (which would one day culminate in suicidal actions) was touching and believable."
Judith Weir on Duet (Re: Sound 2016)
"Oskar McCarthy's bolshy Leporello stole the show with a performance of real vocal and physical power"
Opera Now (June 2016 edition) on Don Giovanni (Midsummer Opera 2016)
"It's quiet, dreamlike and slightly hypnotic, McCarthy's baritone as convincing communicating hope as it is plumbing the depths of despair. There's a fine balance to his performance style, believably and naturalistically inhabiting a character whilst delivering a fantastic vocal performance."
London City Nights on Buried Alive (2016)
"Binnacle the cat’s tail bounces persistently under the hands of nimble puppet master Oskar McCarthy, whose body mimics the cat’s responses."
Fringe Opera on Ulla's Odyssey (OperaUpClose 2015)
"Oskar McCarthy has a stage presence and a clarity of diction (both spoken and sung)"
British Theatre Guide on After Party (Re: Sound 2015)
"Arsamenes was sung by baritone Oskar McCarthy with eloquence and agility, and he played the character of the suffering brother and lover with such sensitivity that I felt sympathy for him."
Bachtrack on Xerxes (Hampstead Garden Opera 2015)
"Carmen loves Escamillo, a splendidly haughty Oskar McCarthy with resounding baritone and matador splendour."
The Argus on CarMen (Secret Opera 2015)
"The opera opens with a fleeting yet strong performance from baritone Oskar McCarthy as the escaped political prisoner Angelotti, whose richness of tone sets the pace for this impressive show."
Fringe Opera on Tosca (Midsummer Opera 2015)
"Adam Torrance and Oskar McCarthy give fine comic performances as Ferrando and Guglielmo."
Daily Express on Cosi fan tutte (Pop-up Opera 2014)
"Oskar McCarthy provided a burnished baritone foil"
BBC Music Magazine on Triptych (ERRATICA 2014)