Una Barry possesses a strong, true soprano voice which is the expression of a marked intelligence and a vivid response.
Manchester Midday Concert
Daily Telegraph

Una Barry, who gave an authoritative performance of the Britten (Canticle I, My beloved is mine and I am his), sounded appropriately fervent in Messiaen’s ‘Chants de Terre et de Ciel.’
Daily Telegraph, Manchester

Una Barry’s rich, dark toned ‘in memoriam aeterna’ could have been a love song from Rusalka itself while her ‘pleni sunt caeli’, rising radiantly out of the gentle Sanctus waltz, was an elating realization of Dvorak’s powerful transition to the weighty, ringing Hosanna.
Dvorak’s Requiem, Queen Elizabeth Hall, London
The Times

Miss Barry’s quality of tone resulted in a thrilling performance.
Beethoven’s Missa Solemnis, Chester Cathedral
Chester Chronicle

Una Barry is a soprano with a voice that has great beauty and is dramatic in quality and colour.
Purcell’s The Fairy Queen, Victoria Hall, Geneva
La Tribune de Genève

Una Barry’s interpretation showed such a range of vocal and emotional expression, revealing a great depth of understanding.
Verdi’s Requiem, York Minster
Yorkshire Post

Una Barry was electrifying in her final unaccompanied soprano lines.
Handel’s Israel in Egypt, RAI, Naples, Italy
Glasgow Herald

Una Barry has a voice of great beauty, perfectly controlled.  She gave a most impressive performance.
Mendelssohn’s Hymn of Praise, Brangwyn Hall, Swansea
Swansea Evening Herald

War Una Barrys Sopran in leisen Passagen eindrucksreich, in Ensemble strahlend und glockig.
(Una Barry’s soprano voice was rich and impression in the soft passages, brilliant and bell-shaped in the ensembles.
Mozart’s Requiem, Schlosskirche, Meisenheim-Lauterecken, Germany

For all the majestic moments, memories will surely linger on the soaring beauty of the voice of Una Barry.
Mendelssohn’s Elijah, St Edmundsbury Cathedral
East Anglian Times

Una Barry was impressive with her full expressive soprano voice, additionally through which she was able to produce a darker mezzo quality in the lower register.
Handel’s Messiah, Stefanskirche, Mainz, Germany
Allgemeine Zeitung

Una Barry gefiel durch ihren weittragenden, kraftvollen Sopran, mit dem sie melodische Linien intensive und schattierungsreich füllte.
(Una Barry’s far-reaching, powerful soprano voice filled the melodic lines with intensively rich shading.)
Handel’s Messiah, Stefanskirche, Mainz, Germany
Rhein-Zeitung, Mainz

Una Barry, a new and vibrant soprano.
Stanford’s Te Deum, Queen Elizabeth Hall, London
The Times

Una Barry, with a splendid, strong and sensitive voice and formidable range, gave an excellent performance, all the more creditable since she had twenty-four hours’ notice when the singer originally engaged was taken ill.
Verdi’s Requiem, Grimsby Town Hall, Yorkshire
Grimsby Daily Telegraph

Una Barry sang ausgewogen, musikalisch klug gefürt, ohne eine zu persönlich gefärbte Sopranstimme auzubieten, klar un logisch wie empfindsam.
(Una Barry sang in a well balanced way without being self-indulgent.  Her interpretation was very clear, straightforward as well as being sensitive.)
Bach’s Mass in B Minor, Stefanskirche, Mainz, Germany
Allgemeine Zeitung

The commitment of David Johnston and Una Barry as Dalila in the argument scene seemed so intense that only the conductor kept them apart for their own safety!  Her beautiful voice was most impressive when joined by the gleaming trumpet in ‘Let the Bright Seraphim’ and again in the duet ‘Her Faith and Truth’.
Handel’s Samson in Deal, Kent
East Kent Mercury

Soprano Una Barry sang throughout with a moving sincerity, expressing Verdi’s profound emotions with a strength sustained to the end.  Her radiant ‘Libera Me’ echoed the confidence of the ‘Ingemisco’.  It was an illuminating performance which brought out the full colour and emotion of this masterpiece.
Verdi’s Requiem, York Minister
Yorkshire Post

Soprano Una Barry had a Germanic smoothness of tone, which blended perfectly to make for a genuine Beethoven sound.
Beethoven’s Mass in C and Choral Fantasia
Aberdeen Press

Una Barrys kopfig-freier, hell-offener Sopran
Breunich’s Te Deum, Cornelius’s Stabat Mater and Bruckner’s Mass in D Minor
Christuskirche,  Wiesbaden, Germany
Allgemeine Zeitung

It was a memorable night for several reasons.  The team of soloists actually changed in the course of the evening as the original soprano was unable to continue, and the soprano was replaced by Una Barry, stepping from the audience to the front and singing beautifully.
Bach’s Mass in B Minor, Manchester
Manchester Evening News

Una Barry’s performance was a delight.  She has a lovely voice of wide range and purity of tone.
Handel’s Messiah, Llanelli, South Wales
Llanelli Star

Dalila was sung by the soprano Una Barry, who gave faultless performances of her arias, including the well-known ‘Let the Bright Seraphim’ duo with trumpet.
Handel’s Samson
The Bulletin, Brussels

The highlight of this concert was the splendid singing of the two sopranos, Una Barry and Julie Kennard.  The two young ladies really were in excellent voice and fully deserved their ovation from the large audience.
Mozart’s Mass in C Minor, Manchester
Manchester Evening News

A splendid performance of Kodaly’s ‘Te Deum’ and the solo contribution of Una Barry whose dynamic range coped wonderfully with the building.
Dvorak Te Deum and Kodaly Te Deum, York Minster
Yorkshire Post

Una Barry, soprano, made a good impression.  Quietly assured, no histrionics, she nonetheless showed a real understanding of the operatic style needed.
Rossini’s Petite Messe Solennelle, Lowestoft, Suffolk
Lowestoft Journal

Una Barry, soprano, has a voice of great beauty, perfectly controlled.  She gave a most impressive performance.  And her singing of ‘O Divine Redeemer’ will be long remembered.
Mendelssohn’s Hymn of Praise and Gounod’s O Divine Redeemer, Llanelli, South Wales
Llanelli Star

Una Barry really met the Italianate operatic requirements.  In both works, when unaccompanied, she used the acoustics to great advantage, allowing time for the notes to reverberate and settle.
Beethoven’s Mass in C and Rossini’s Stabat Mater, Guildford Cathedral
Surrey Advertiser

Soprano soloist, Una Barry, had the lion’s share of the work for she also sang Poulenc’s Gloria earlier in the evening. In her taxing performance of ‘Upon a gloomy night’ she maintained an enviable clarity throughout.
Poulenc’s Gloria and Mathias’s Lux Aeterna, Bury St Edmunds Cathedral, Suffolk
East Anglian Times

Soprano soloist Una Barry is evidently a real musician with a voice that should take her far.
Winter Solstice, Loughborough University
Music by Graham Belchere and Pauline Green
Classical Music Weekly

Una Barry chose a very well balanced programme, containing songs which for the most part were unfamiliar, and yet she achieved a nice balance of style, mood and period.   Throughout the whole recital Miss Barry showed an exceptional understanding of the material, and was able to use her considerable technique to good advantage.
Lunchtime recital of of Bononcini, Beethoven, Fauré and Walton songs
Essex County Standard

Una Barry’s power, composure and sureness of pitch in difficult terrain should stand her in good stead.
Recital with guitar in a programme of Dodgson, Rodrigo and Sor
Manchester Evening News

Una Barry sang with soaring power and delicate finesse in the most apt musical commentary immaginable.
First Person Singular: A Literary Evening, with songs by Purcell, Dvorak, Vaughan Williams and Richard Rodney Bennett