"Tara Erraught sang the entire programme from memory, and her performance was notable for her highly communicative manner, creating a sense of character in each of the items and conveying a real feeling of engagement, enjoyment and enthusiasm. Singing with a beautifully modulated and bright toned mezzo-soprano, there was a freshness to her lieder performances in the first half, which made even the more routine items seem something special. She is clearly a great story-teller... ...For the last official piece on the programme we had Rossini's 1834 cantata Giovanna d'Arco, a sequence of two arias and recitative in which the doomed maid reflects on her love of country and of family. After a dramatic and dark-toned piano introduction (Rossini wrote the piece with piano accompaniment), Erraught made the recitative rather intense leading to the affecting cavatina, 'O mio Madre' albeit with some fine marital moments too. A second dramatic recitative led to the final aria which was spectacular and vehement, with a final more lyrical section which became more elaborate towards the brilliant finale. Erraught and Baillieu brought out all the works changes of mood and character in a vividly engaging performance." Read More...
— Robert Hugill,
Interview with Tara Erraught
Tara Erraught, Glyndebourne's Octavian: 'This is a mezzo's dream come true'
The young Irish mezzo makes her UK stage debut in Richard Jones' new staging of Strauss' 'Der Rosenkavalier' this month.
— Keith McDonnell,
Whats on stage
Rising star Tara Erraught brings her Irish roots and soaring mezzo to Spivey
"The concert at Spivey Hall opened with Joseph Haydn’s Scena di Berenice, a Metastasio text from his libretto L’Antigono. The scena provided us time to admire Erraught’s intense, spinning top notes. A lyric mezzo with a rather sizeable voice, her instrument possesses the earthy timbre of an alto, but the range of a soprano. Her Bartoli-like melismas and long phrases showcased the utmost vocal freedom and an easy, pulsing vibrato that was stunning to hear." ArtsATL.com, March 26, 2014 (2014 March US Recital Tour)
No Beauty Goes Unexplored in 'La Clemenza di Tito'
"Tara Erraught sings the castrato role of Sesto with a beautifully formed mezzo-soprano voice; she, too, has a big aria, “Parto, parto,” ...and it is the high point of Act 1." (Bayerische Staatsoper, Mozart, La Clemenza di Tito)
— The New York Times February 17, 2014
"...vocally and dramatically her performance was flawless..." (Theater an der Wien, Ian Bell, A Harlot's Progress)
— Seen and Heard International October 24, 2013
"Irish Mezzo-sopran Tara Erraught, a bright star in her guild since she triumphantly jumped in at the Nationaltheater for Vesselina Kasanove in 2011, has some of the cleanest coloratura in the game, an enviably large range, and body language that draws one diretly into the mood of each song."
— Opera News October 2013
Rising star shines in Canadian debut
Acclaimed young mezzo-soprano Tara Erraught shows intelligence and complexity in Vancouver recital
“...a succession of arias by Handel and Rossini showed what this impressive new singer is really all about. Having established her vocal and interpretive credentials in the earlier part of the recital, here, at last, she cut loose with roulades and ornaments galore, agility, irrepressible verve and obvious joy in performing. With co-recitalist — indeed, co-conspirator — Jonathan Ware at the keyboard, Erraught delivered an ultra-flashy rendition of Dopo notte from Ariodante, then the famous, exquisite Lascia ch’io pianga from Rinaldo. Her lithe virtuosity unleashed, the recital went into overdrive, ending, at least officially, with a hilarious rendering of Una voce poco fa from Rossini’s The Barber of Seville. … In all, this was a convincing demonstration that, once again, Vancouver audiences have heard a true rising star …." (North American Recital Tour, Chan Centre,Vancouver Recital Society, Vancouver, Canada)
— The Vancouver Sun April 25, 2013
MESMERIZING IRISH MEZZO TELLS STORIES IN WEILL SONG RECITAL
"…She has an exciting and excellent top …and she has great facility and ease with the German language. …The first half ended with Brahms’ “Gypsy Songs.” Op 103. …Brahms arranged Nos. 1 to 7 and 11 for solo voice and piano in 1889, and these eight were sung by Ms. Erraught with brilliance of tone, vibrant shimmering high notes, and exciting dynamic contrasts. Coming back for the second half wearing a royal blue Grecian-style gown, Ms. Erraught sang six of Wolf’s “Morike Lieder.” …Again, in singing a group with wide demands in terms of range, color and dynamics, I heard in Ms. Erraught an accomplished, elegant, tasteful, and perceptive performer. …Saving the best for last in Handel and Rossini arias the singer, as they say, knocked it out of the park. “Dopo notte,” from Ariodante, could not have been a bigger contrast from the Wolf miniatures. With jaw-dropping agility and speed, loads of clean, accurate trills, impressive evenness of scale from top to bottom (and back up again and again and again), it was a total showpiece. …“Una voce poco fa” from Rossini’s Barbiere di Siviglia is sometimes considered a ‘warhorse,’ but it’s always an aria where a singer can prove her bonafides and bid to be added to the list of greats who have gone before. There’s no doubt, Tara Erraught is fast. Furiously fast. Think Cecilia Bartoli-fast. At that point, the audience was more than ready to express their appreciation with a standing ovation, which earned them the pleasure of two encores. (2013 North American Tour, Green Music Center, Sonoma, CA)
— Classical Sonoma April 21, 2013
“Dublin-born mezzo-soprano Tara Erraught made her American recital debut with the Harriman-Jewell Series on April 12, adding her name to the long list of distinguished singers who have first performed as recitalists on the local series. She revealed herself to be a masterful actress, utilizing a wide variety of expressions and gestures to plumb the emotional gamut of a both songs and opera arias. …The program was heavy with German interpretations, as might be expected from a singer of the Bavarian State Opera who has made her mark in such German-speaking musical capitals as Munich and Vienna. Her first series of songs, by the Czech composer Antonin Dvo?ák but sung in German, found her best engaged in the painfully tortured “Ám Bache,” about a river which, flowing onward, carries away the flower of youth. … In a series of gypsy songs by Johannes Brahms, she was the master of all dynamics, from the fiercely declamatory to light and almost impressionistic phrases.” (2013 North American Tour, Harriman-Jewell Series)
— KCMetropolis.org April 16, 2013
“Throughout the evening, Erraught projected a warm, engaging stage persona that served her well in the wide musical variety of the first half's program choices. She's only 26, but Tara Erraught already has a classic, surprisingly mature mezzo voice: it's big, strong, dark and rich. …True to show-biz convention, the fireworks came at the end in Handel’s aria “Dopo notte” from his 1735 opera “Ariodante” and in “Una voce poco fa” from Rossini’s “The Barber of Seville.” The Handel’s fearless, impeccable performance deserved its standing ovation and chorus of Bravos! from the audience, as did the Rossini.” (2013 North American Tour, Harriman-Jewell Series)
— - The Kansas City Star April 13, 2013
“Neue Königin des Belcanto” – “New Queen of Belcanto” (Wiener Staatsoper, Rossini, La Cenerentola)
— Frankfurter Allgemeine January 31, 2013
“The evening, however, belonged to the young Irish mezzo Tara Erraught as the put-upon Angelina. With her accurate, fleet divisions and sweet disposition she won the audience’s hearts completely.” (Wiener Staatsoper, Rossini, La Cenerentola)
— Opera (UK) February 2013
"Der Charme der Trockenhaube"
“The singer in the title role is a genuine find. Tara Erraught plays Angelina lively and touching, her mezzo is capable of pearling coloraturas and clear high notes.” (Wiener Staatsoper, Rossini, La Cenerentola)
— Kurier January 28, 2013
"Staatsoper: Ein gar nicht gewöhnliches Aschenbrödel",
“The young Irish debutante wins over the audience. (...) Who would believe the modest girl, who sings the ballad of the courting king in touching subtlety, being capable of the brilliant, sparkling coloraturas of the finale? Erraught sings them perfectly pitched and clearly articulated up until the highest registers.” (Wiener Staatsoper, Rossini, La Cenerentola)
— Die Presse January 28, 2013
“... flawless and with delicate ease in the finale: Tara Erraught as Angelina.” (Wiener Staatsoper, Rossini, La Cenerentola)
— Der Standard January 28, 2013
"New Production of Rossini's Cinderella a Delight"
“As Angelina — Rossini’s Cenerentola, or Cinderella — mezzo Tara Erraught unleashed an array of coloratura fireworks in a role that affords opportunities for vocal pyrotechnics like few others. ‚Non piu mesta’ — where Angelina, the prince by her side, announces that she forgives her cruel step-sisters and step-father — is considered one of opera’s most difficult arias. No problem for Erraught. Her rendition perfectly mirrored Angelina’s transition from a servant singing a simple ditty at the fireside to a princess in full embellished voice." (Wiener Staatsoper, Rossini, La Cenerentola)
— Associated Press January 28, 2013
“[…] It’s a sensation to see the 25 year-old Tara Erraught perform in Barbiere di Siviglia at the Bavarian State Opera: with her fresh joy for acting she gives the role of Rosina all the innocence and erotic shimmer which is part of the stereotype of the ‘shrewd girl’. One of the great stereotypes of the opera business proved true for the young Irish singer herself last year: within five days she jumped in for an ailing Vesselina Kasarova at the premiere of Bellini’s I Capuleti e I Montecchi. Ever since, she is high demand for big roles in the international opera circuit – she will sing Rosina in Rome as well as at the Vienna State Opera this year. Understandably, also judging from her vocal qualities: she carves out and subtly phrases the voluptuous coloraturas with a bell-like clear soprano with mezzo tendencies.” (Bayerische Staatsoper, Rossini, Il Barbiere di Siviglia)
— Suddeutschezeitung March 7, 2012
“Judging by the frenetic applause, Vincenzo Bellini’s ‘I Capuleti e i Montecchi’ is the most joyous tragedy in a long time. The audience cheers, claps, stomps when young mezzo soprano Tara Erraught appears for her curtain call. Prior this weekend no one knew her. Now she’s a star.” (Bayerische Staatsoper, I Capuleti e i Montecchi) -Rudolf Neumaier
— Suddeutsche Zeitung March 29, 2011
“Daringly she learned the role with five days notice, jumped in for the famous colleague and with the first sung note delivered a self-assured Romeo. Her mezzo is agile, very bright and direct (...). Roaring applause – first and foremost for Erraught.” (Bayerische Staatsoper, I Capuleti e i Montecchi) -Reinhard Brembeck
— Suddeutsche Zeitung March 29, 2011
“They call it ‘breakthrough’ when a star is born. And this is exactly what happened in Munich’s Nationaltheater. (...) This singer gets straight to the point: what clear and natural interpretation! What astounding sense for nuances and control of phrasing at this young age! And especially in the lyric scenes, in Romeo’s first entrance or in the death scene, Tara Erraught creates moments of wonder. She shows a sensibility that is key to Bellini – and to the hearts of the cheering audience. (Bayerische Staatsoper, I Capuleti e i Montecchi
— Munchner Merkur March 29, 2011
“The production was to have featured the Romeo of Vesselina Kasarova, who canceled due to illness several days before the premiere. The Bavarian State Opera was compelled to dig into its own ensemble. Showing its faith in talented young Irish mezzo Tara Erraught — recently heard in Munich to great advantage as the Child in Ravel's L'Enfant et les Sortilèges — the company literally thrust her into the limelight. Learning the role in several days, Erraught took advantage of her opportunity, making a quantum leap into the major leagues. Her bright, highly placed voice is evenly produced, full of color and void of artificiality. She was also able to decorate her vocal lines with consummate taste, and she acted with conviction and enthusiasm.” (Bayerische Staatsoper, I Capuleti e i Montecchi)
— Opera News July 2011
“Erraught is one of those singers who take a real delight in negotiating the obstacle courses of virtuosic arias. She sounded fully at home in the brilliant greeting of “Nobles seigneurs, salut!” from Meyerbeer’s Les Huguenots, and delighted in fluttering balletically between the extremes of her range in Cinderella’s “Non più mesta” from Rossini’s La Cenerentola.” (National Concert Hall Dublin)
— Irish Times