"Tara Erraugh as Angelina (Cinderella) provides us with a well-pronounced, velvety mezzosoprano that glides effortlessly along with the exceptional live orchestra (Music Direction by Tomáš Hanus)." Read More...
— Laura Patari,
"The romantic leads of Tara Erraught as Angelina and tenor Matteo Macchioni i as the prince Don Ramiro have dreamy voices to sit back and enjoy." Read More...
— Alison Brinkworth,
"Irish mezzo-soprano Tara Erraught, brings a quite innocence to her role as the put-upon Angelina..." Read More...
— Roger Clarke,
A View From Behind the Arras
"Erraught makes a worthy La Cenerentola, with her glorious coloratura soprano, and she leads the cast in their final bow to thunderous support." Read More...
— Barbara Sherlock,
"Tara Erraught is gently angelic as the neglected Angelina (Cenerentola), her earlier arias glinting with longing and final forgiveness alight with gorgeous vocal flair." Read More...
— Leah Tozer,
BWW Review: LA CENERENTOLA, Bristol Hippodrome
"Tara Erraught is gently angelic as the neglected Angelina (Cenerentola), her earlier arias glinting with longing and final forgiveness alight with gorgeous vocal flair."
— Leah Tozer,
"The Irish mezzo Tara Erraught is ideally cast, and has the personality too to win hearts, the humble kitchen-maid with impossible dreams as she sweeps cinders at the start, liberated in spirit and in the free vocal line at the end." Read More...
— Colin Davison,
British Theatre Guide
"The Welsh National Opera production is a tour-de-force, where hilarity and virtuosity go hand-in-hand. In the lead role of Angelina-Cinderella, is Tara Erraught, an Irish soprano .... She brought warmth and grace to a fiendishly difficult rôle, full of embellishments and florid passages of demi-semi-quavers. All of it was carried off with applomb and exquisite taste, and the expression on the face of the Prince (Matteo Macchioni) made it clear that he would fall in love with this nightingale even without any transformation from rags to a grand ball gown." Read More...
— Julia Gasper,
"Tara Erraught was excellent throughout and her voice had enough, but not too much, weight as well as an impressive top. Whether as the downtrodden (but not dispirited) Angelina at the beginning of the opera, singing her ‘old song’ of the king who married a kind-hearted woman, or in some of the coloratura writing Rossini produces for her later in the opera, she was able to adjust the weight and colour of her voice appropriately." Read More...
— Glyn Pursglove,
"This was the first time on the WNO main stage for the Irish mezzo Tara Erraught, as Angelina (Cinderella), but she inhabited it, and the character, as one completely at home. She has sung in this production in America, so is not new to working with the creative team, and indeed has worked with conductor Tomáš Hanus over a number of years. But none of that should diminish the high praise which she deserves for her apparently effortless command of Rossini’s coloratura, and to the spirit and charm with which she invested the role. It was an absolute joy to watch and listen to her." Read More...
— Cath Barton,
"...Tara Erraught’s Angelina proves a spirited heroine; down to earth and beautifully clear and agile of voice. In an age when stories of girls needing rescue by princes are rightly subject to challenge, she brings healthy glimmers of female agency to a largely gender-stereotyped role." Read More...
— Steph Power,
"...in Tara Erraught, WNO has a natural Angelina. The Irish mezzo’s voice is warm as smouldering embers, tender throughout, with unfaltering coloratura. She’s down to earth but a dreamer, wise about the world but innocently hopeful. Even in this cartoonish universe, this Cenerentola’s thoughts and feelings seemed real." Read More...
— Rebecca Franks,
The Times (London)
"Tara Erraught in the central role of Angelina — Cinderella — sings and acts her role beautifully" Read More...
— David Nicholson,
The Morning Star
"Tara Erraught gave us a gently humane Angelina, whose attempt to reconcile herself with Don Magnifico and her sisters is genuinely touching; so too is her relationship with the actor-mice, where her kindness and empathy for her fellow downtrodden creatures glows warmly. Her voice is richer and smokier than your usual mezzo, with the charcoal shading of the contralto lower down. These darker hues deepen her characterisation as inward, dreamy, even melancholy..." Read More...
— Benjamin Poore,
"As the title role of Angelina (AKA Cinderella), Tara Erraught is enchanting; a Disney-like princess, exuding ‘goodness’, but with a smooth, agile and rich voice to boot. Difficult passages are tackled with ease, and she is a natural in the role, which could sometimes come across as saccharine by a lesser actress." Read More...
— Emily Pearce,
The Reviews Hub - Southwest
"The supporting parts are very well taken, and more than that in the matter of Tara Eraught's warm-spirited, generously sung Annio." (CD REVIEW: Wolfgang Amadeus Mozart — LA CLEMENZA DI TITO, K. 621 (R. Villazón, J. DiDonato, M. Rebeka, R. Mühlemann, T. Erraught, A. Plachetka; Deutsche Grammophon 483 5210)
— Opera Magazine
"...as Servilia and Annio, Regula Mühlemann and Tara Erraught make the most of their affecting arias and one zinging duet — late Mozart jewels plentifully scattered among the dustier recitatives..."
— Geoff Brown,
The Times (UK)
Classical Album of the Week
"The smaller roles are impeccably cast, with Regina Mühlemann dewdrop-sweet as Servilia, Tara Erraught making much of Annio, and Adam Plachetka as the commander Publio, who sounds rather more secure than his emperor."
(CD REVIEW: Wolfgang Amadeus Mozart — LA CLEMENZA DI TITO, K. 621 (R. Villazón, J. DiDonato, M. Rebeka, R. Mühlemann, T. Erraught, A. Plachetka; Deutsche Grammophon 483 5210)
— The Guardian (UK)
"Irish mezzo-soprano Tara Erraught characterizes the young Annio with keenly-honed histrionic instincts and vocal technique that maintains the requisite style without sacrificing the emotive spontaneity of her singing. In the beautiful Andante duet with Sesto in Act One, ‘Deh, prendi un dolce amplesso,’ Erraught voices Annio’s words with obvious understanding of their meaning, and, here and in the subsequent duet with Servilia, ‘Ah, perdona al primo affetto,’ the mezzo-soprano imbues the rôle with significantly greater dramatic involvement than he wields in many performances. Like Plachetka’s Publio, Erraught’s Annio is engagingly conspicuous in both their trio with Vitellia and the momentous quintet that ends Act One.
The first of Annio’s arias in Act Two, the Allegretto ‘Torna di Tito a lato,’ is affectionately sung, but it is in the Andante aria ‘Tu fosti tradito’ that Erraught claims for herself a place alongside Brigitte Fassbaender and Frederica von Stade among the finest recorded interpreters of Annio. The appeal of her vocalism is consistent throughout the performance, but the parlous position in which Annio finds himself in ‘Tu fosti tradito,’ acknowledging that his friend Sesto’s deeds warrant a death sentence but entreating Tito to allow his deliberations to be guided by the mandates of his heart rather than the rule of law, inspirit Erraught’s depiction. In the opera’s finale, her Annio evinces the jubilation of having facilitated Sesto’s deliverance from an inglorious fate, and the magnetism of Erraught’s singing compels the listener to rejoice, as well." (CD REVIEW: Wolfgang Amadeus Mozart — LA CLEMENZA DI TITO, K. 621 (R. Villazón, J. DiDonato, M. Rebeka, R. Mühlemann, T. Erraught, A. Plachetka; Deutsche Grammophon 483 5210)
— Joseph Newsome,
Voix des Arts
New opera body is on song with fantastic 'Figaro'
“Tara Erraught is delightful as Susanna, her singing simultaneously powerful and gentle; her acting is funny and versatile, with brilliantly expressive eyes and a mobility of features.” (INO April production of Marriage of Figaro at The Gaiety Theater, Dublin)
— Katy Hayes,
The Independent (Irish)
A Marriage of Style and Substance
“It has been a long wait — since the demise of Opera Ireland in 2010 — but the debut production of the Irish National Opera (INO) season, a smart, updated version of Mozart’s immortal The Marriage of Figaro, was certainly worth it.
“Mozart’s opera, however, is in the tried and trusted hands of Mason, a director whose theatre and opera work is renowned for its clarity and no-nonsense theatricality. With designer Francis O’Connor, he has devised a “vernacular” Figaro, even though it is sung in the original Italian by a mostly Irish cast, headed by Munich-based mezzo Tara Erraught in the pivotal role of Susanna.
“Erraught deserved her star billing with a poised and sculpted account of Susanna’s final aria, Deh vieni…”
(INO April production of Marriage of Figaro at The Gaiety Theater, Dublin)
— Hugh Canning,
The Times (London)
“Tara Erraught (mentioned on RTE radio as a “rising star” during the week: one would be inclined to say she is well risen!) sang Susannah with a glorious finesse and verve...”
(INO April production of Marriage of Figaro at The Gaiety Theater, Dublin)
— Emer O’Kelly,
A Marriage of Wit and Artistry...
“silken-voiced Tara Erraught as Susannna” (INO April production of Marriage of Figaro at The Gaiety Theater, Dublin)
— Michael Moffatt,
Irish Mail on Sunday
Irish National Opera presents Mozart’s ‘The Marriage of Figaro’ at the Gaiety
“...she [Tara Erraught] inhabits this role with wit and assurance, her singing superb, as her performance leads us from the cartoonish exchanges of the opening scenes to the compelling immediacy of the work’s conclusion. ... “There are many highlights, but the most special comes in the fourth act, with Erraught’s singing of the aria ‘Deh vieni, non tardar’ (‘Oh come, don’t delay’), a subversive piece of play-acting and an exquisite musical moment all in one.”
— Michael Lee,
The Marriage of Figaro: A Review
“The vocals from all the cast, in particular Tara Erraught, Jonathan Lemalu and Máire Flavin (playing Susanna, Figaro and the Countess respectively) soars with confidence and bravado. Coupled with theIrish Chamber Orchestra flawlessly conducted by Peter Whelan, the attention of the entire audience is hooked and woven through the tears, the joy and comedy the opera has to offer. (INO April 2018 production)
“Not only are the vocals from the cast impressive, but their acting is as strong as any other show playing up to the farce of the piece.”
— Kevin Worrallon,
“Individually, the singing is top class and the cast of voices are nicely balanced. There is a warmth in the well-matched ensembles and a sense that everyone on stage is enjoying every moment. Most of the cast are singers home from overseas, proof of the INO’s mission to support Irish talent.
“At the heart are the girl-power duo of Tara Erraught and Máire Flavin as Susanna and the Countess who conspire to save the men from themselves.” Star Rating: 5/5
(INO April production of The Marriage of Figaro)
— Irish Examiner
Mozart’s The Marriage Of Figaro – Gaiety Theatre – Review
“It is no surprise that Erraught has had such success in Europe and the USA. She has it all: a stunning voice, great stage presence and a huge comedic talent.”
— Patrick Viale,
Fun and Frolics ant Irish National Opera's Figaro
“The cause of this tirade is his fiancée, Susanna, played by Tara Erraught. Vocally, she instantly captured the imagination, her pellucid voice capable of mesmerising her betrothed, the lascivious Count and the audience alike. “Deh vieni, non tardar” was exquisitely sung, titillating the Count and sending her affianced into a paroxysm of jealousy. Dramatically too, she was spot on, imbuing her character with a pert feistiness at times, or happy to use her wiles and sexuality to achieve her ends.”
— Andrew Larkin,
"Tara Erraught is a commanding Susanna, who gives the impression of somehow being always one step ahead."
(INO April production of Marriage of Figaro at National Opera House, Wexford) Read More...
— Michael Dervin,
The Irish Times
Vocal Splendor and Charm from soprano Tara Erraught
"The popular Richard Strauss songs were perhaps even finer, finding true Straussian fragrance and sensuality, and affirming the singer’s recent success in Der Rosenkavalier and Die Schweigsame Frau. ‘Allerseelen’ brought forth a most inviting lyrical fabric, while the bold, heroic tones of ‘Zueignung’ contrasted beautifully with the tender intimacy of ‘Die Nacht’. The effervescence and play in ‘Ständchen’ stood nicely beside the affecting tenderness of ‘Morgen’, while it was the lovely sense of flow that distinguished ‘Cäcilie’. In all of these songs, there was an intuitive awareness of Straussian phrase shape and the warm sweetness of the composer’s utterance. One also noted the singer’s ability to build crescendos so naturally in the longest lines while always creating a sense of anticipation in each song’s narrative."