"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."

"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)

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.”

"...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."

"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'."

"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.”

“…Tara Erraught, making her debut as Nicklausse/The Muse. She is a wonderful singing actress..”
 

“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.”

"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."

"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."

"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 …”