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
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)
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 at 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
"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
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."
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,
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
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
"...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,
Die schweigsame Frau: a commedia del Kosky staging in Munich
"The Bayerische Staatsoper has an impressive Strauss tradition and first staged Die schweigsame Frau in 1947. ... In a work where diction and attention to Stefan Zweig’s scintillating text is of paramount importance, the international cast acquitted themselves well. ...Irish mezzo Tara Erraught a lusty Carlotta with a remarkably authentic Bavarian dialect as 'Kathi'."
— Jonathan Sutherland,
"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
“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)
"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,
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,
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,
Revolution in the Air: Le nozze di Figaro at Bayerische Staatsoper
"Le nozze di Figaro, Bayerische Staatsoper, role debut
“Erraught’s Susanna was a role debut for this run and she clearly has put a great deal of work into it. Her command of the notes and words were total and the voice was so very well placed, bright and forward. ... The tessitura felt absolutely even and her oboe-toned voice really is well suited to the role. ...Her delightful stage presence really shone out …”
— operatraveller.com November 19, 2016
“...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
“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)
“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)