"We have recently seen celebrity singers such as Joyce DiDonato and Bryn Terfel create a wonderful personal engagement with their audience – making each patron feel as if the singer is communicating directly with them. This return recital with young Irish mezzo-soprano Tara Erraught achieved very much the same spell, and added a beguiling youthful charm and honesty on top of it. The obvious attraction is that Erraught sings so beautifully, with remarkable range, poise and dramatic sense. But she is such an able story-teller too, not only in introducing her repertoire to the audience but also in projecting her singing – almost as an intimate secret – to alternating sections of the right and left hand sides of the hall." Read More...
— Geoffrey Newman,
Vancouver Classical Music
Irish and (other hearts) are happy at Tara Erraught's Vocal Arts Recital
"Erraught’s powerful top range has blossomed beautifully, as displayed in the gripping opener, Liszt’s “Enfant, si j’étais roi.” The velvety legato tone she spun out on the second Liszt song, “Oh! Quand je dors,” was more gorgeous yet." (Vocal Arts DC recital)
— Charles T. Downey,
Washington Classical Review
“Tara Erraught kicked off the night as expected, her interpretation of one of her signature roles that of a boisterous child. While he played along with his sister, he was less refined, more clumsy and even a bit more aggressive. ...she did showcase a wide range of tenderness in the second act, her mezzo smooth and silky. “
— David Salazar,
Music Review: The Met’s Holiday ‘Hansel’ Is Surreal (and Timely)
Review: The Met’s Holiday ‘Hansel’ Is Surreal (and Timely) “To be sure, “Hansel and Gretel,” performed in a charmingly accessible English translation, remains good family fare in the Met’s colorful production. It was fun to watch the fidgety Hansel (the mezzosoprano Tara Erraught) and fretful Gretel (the soprano Lisette Oropesa) trading nonsensical taunts, dancing together and skipping their chores while their parents are off working, like mischievous siblings everywhere.”
— Anthony Tommasini,
The New York Times
Met’s colorful, if gruesome, “Hansel and Gretel” returns with its seasonal “magi
"Tara Erraught’s warmer mezzo-soprano gave Hansel that extra touch of male heft and self-importance, as the two singers [Soprano Lisette Oropesa as Gretel ]convincingly enacted the special relationship of siblings, turning on a dime from rivalry to best-friends-forever and back again.”
— David Wright,
New York Classical Review
"...a beautifully controlled and quietly intense performance of Mahler’s early song cycle Songs of a Wayfarer by the Irish mezzo-soprano Tara Erraught. . ... Tara Erraught is rapidly establishing a major reputation as one of the great Irish singers of our generation, and deservedly so; she recently made her debut with the Metropolitan Opera in New York, and an international career clearly beckons." Read More...
— Paul Corfield Godfrey,
"As Hoffmann’s Muse (a k a Nicklausse) the Irish mezzo Tara Erraught is making an impressive Met debut, especially in the 3rd act barcarolle “Belle nuit, o nuit ’amour.”
— Wilborn Hampton,
“…Tara Erraught, making her debut as Nicklausse/The Muse. She is a wonderful singing actress..”
— Robert Levine,
The Metropolitan Opera – Bartlett Sher’s production of Offenbach’s Les Contes d’
“Tara Erraught made an auspicious Met debut as Hoffmann’s Muse, and his constant companion in the guise of Nicklausse. Almost continuously present, Erraught sang beautifully in both roles, and she also excelled in ensembles.”
— David M. Rice,
Met gets new season on track with a worthy, well-sung “Hoffmann”
“The Irish mezzo Tara Erraught made a strong company debut as Hoffmann’s companion Nicklausse, largely on the strength of her dramatic performance. Sher’s Nicklausse plays the long game—as the alter ego of Hoffmann’s poetic muse, it is his ultimate wish to see his friend return to his writing desk, and so in this production he is complicit in every one of the villains’ treacheries. That can be a tough line to take without become an outright antagonist, but Erraught’s cheeky Nicklausse has no trouble winning the audience’s affection.”
— Eric C. Simpson,
Making music as a spontaneous, unpremeditated act
"Erraught took her listeners with stylish aplomb through arias by Meyerbeer, Gounod, Mozart, and Bellini before she went into astonishing overdrive for a display of pinpoint perfection in a number of arias by Rossini. If you haven’t heard Erraught tripping through the obstacle courses that Rossini created as vocal showcases for his singers, you’re missing out on an essential experience of 21st-century Ireland."
— Michael Dervan,
The Irish Times
Die Milde als höhere Macht Samstag/A mildness as a higher power
“Auch die beiden kleineren Frauenrollen sind glänzend besetzt: Tara Erraught gibt der Partie des Annio Charakter und Substanz, edel und und kultiviert ist daneben der silbrig schlanke Sopran von Regula Mühlemann als Servilia. Beide harmonieren außerdem hervorragend in den Ensembles."
"The two smaller women's roles are also shining: Tara Erraught gives the part of the Annio character and substance, noble and cultured is the silvery soprano by Regula Mühlemann as Servilia. Both also harmoniously blend into the Ensembles."
Baden-Baden Gala 2017: LA CLEMENZA DI TITO (concert version)
— Christine Gehringer,
"Tara Erraught incarne parfaitement toute la détresse d’Annio, auquel elle apporte une belle ferveur."
"Tara Erraught perfectly embodies all Annio's distress, to which she brings a great fervor.”
Baden-Baden Gala 2017: LA CLEMENZA DI TITO (concert version)
— Michel Thomé,
“Tara Erraught überzeugt als Annio mit flexiblem, höhensicheren Mezzo."
"Tara Erraught convinces as Annio with flexible, height secure Mezzo.”
Baden-Baden Gala 2017: LA CLEMENZA DI TITO (concert version)
Mit einem kleinen und Pianokultur/With a small pianoculture
"After songs by Brahms and Wold, Erraught succeeded in the song repertoire of Richard Strauss, a small miracle of legato and pianoculture, intensity and density of the textual statement, wordless and without any accent. The song, "allerseelen" seems to stir the audience to tears, "Zueignung" or "Morgen!" becomes the revelation of great songculture, as it has scarcely even been mentioned here in this last emotional consequence." (translation)
— Vorlarlberg Nachtrichten
"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,
“...even to the uninitiated it is obvious that Tara Erraught could probably sing the phone book and make it a moving experience ….” (Don Giovanni, Opera Theater Company)
— Evening Echo
“Doyle’s translation, as expected, relays Da Ponte’s razor-sharp text in a version of Dublinese – Tara Erraught’s Donna Elvira promises to offer Don Giovanni ‘pure hell’, and that she’ll ‘tear away his heart’, while the champagne aria starts to ‘fill them with vino’. There are exclamations of ‘Jesus!’ and references to bastards and worse. Funnily enough, however, it only reminds us how surprisingly well Hibernian English can relate to 18th-century Italian. More to the point, the words carry easily from the singers’ lips, with surtitles only needed occasionally. Communication is immediate, showing the real power of a workable singing translation. More than most operas, Don Giovanni jumps rapidly from comedy to horror to disgust to melancholy and back again, and the text simply takes us there. Erraught’s Elvira is a pleasure to watch and listen to, and she brings tremendous vibrancy and energy to her voice in this role.” (Don Giovanni, Opera Theater Company)
“The performances are almost unanimously outstanding. The orchestra, conducted by Fergus Sheils, deliver Mozart’s score stunningly. The ensemble are powerful and energetic, Quinn’s direction allowing for moments of humour, chemistry and charm. David Kempster in the titular role is a treasure; he is charismatic, energetic, an exceptional vocalist. The remainder of the ensemble consists of mostly Irish singers, with Tara Erraught as Donna Elvira and John Molloy as Leporello particularly impressing. ” ((Don Giovanni, Opera Theater Company)
“Tara Erraught as Donna Elvira, his most conflicted lover, brings her velvet mezzo voice and high wattage charisma to the role.” (Don Giovanni, Opera Theater Company)
— The Independent
Tara Erraught's Rosina steals the show in hilarious Rossini Barber
"In particular it was the ravishing voice of young Irish mezzo Tara Erraught that really bowled me over. Dispatching her rapid passages, leaps and high notes with pearly brilliance, she beguiled us all with her delicate coloratura and pellucid tone. At once saucy and sly, Erraught brought Rosina alive perfectly capturing her inherent wilfulness, while in Act II she imbued her character with a certain vulnerability as she sings the alternative aria “Ah se è ver che in tal momento” (not usually included) wondering whether her lover has been faithful or not."
— Andrew Larkin,
South Pole at Bavarian State Opera: Première of a jarring spectacular on ice
"Of course, the tragic fate of its hero cannot be escaped. In the overwhelming cold, Scott started to hallucinate. In his dream, his wife appears to him, sung in a beguiling mezzo by the superb Tara Erraught." (Bayerische Staatsoper, world premiere)
— Norman Schwarze,
No longer by the cinders: Tara Erraught’s American debut in with WNO Cenerentola
"Irish mezzo-soprano Tara Erraught was making her American debut in the title role, her voice well-moulded to its coloratura demands, especially in the infamous last aria where she needs to cover a greater-than-two-octave range." (Washington National Opera, La Cenerentola
— Hilary Stroh,
Sisters shine in Munich's aesthetically intellectual but short-changed Così
"Lured into the plot to unsaddle the myth of fidelity, the sisters' housemaid Despina was depicted by Tara Erraught as insightfully as her character with comic aplomb and a bright mezzo." (bayerische Staatsoper, Cosi fan Tutte)
— Paul Selar,
A nightmare-inducing Hänsel und Gretel in Munich
" Tara Erraught’s Hänsel and Hanna-Elisabeth Müller’s Gretel are perfect as hungry, petulant children. They seem believably young (even in the final act, when they are inevitably compared with the onstage children’s chorus) and possess apparently boundless energy, singing while dancing, fighting and scrambling over furniture. They both have strong, clear voices, which they use to good effect, choosing clear emphases and prioritizing drama over vocal beauty. That’s not to say that their lyrical moments aren’t beautiful: the quiet blending of their voices in the prayer at the end of Act II stunned the whole auditorium into silence. " (Bayerische Staatsoper< Hansel und Gretel
— Ilana Walder-Biesanz,
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
Iain Bell's A Harlot's Progress enjoys a strong debut at Theater an der Wien
"Tara Erraught deserves to be considerably more well-known than she is, impressing both as an actress and with her outstanding voice." (Theater an der Wien, Ian Bell, A Harlot's Progress)
— Chanda Vnderhart,