"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

"As Rosina, Tara Erraught seemed to be having a ball. She’s a natural and engaging actress, and reeled off her notes with relish in a voice that’s well focused but with a hint of a tangy edge, which suits the character well."

Hugo Shirley, Bachtrack
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)

“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, Sunday Independent
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, www.Goldenplec.com
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, meg.ie

“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, NoMoreWorkhorse.com
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, Bachtrack.com

"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)

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."

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, Operawire.com
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."

Paul Corfield Godfrey, SeenandHeardInternational
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, Bachtrack.com

"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, Huffington Post

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

Robert Levine, Backtrack.com
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, ClassicalSource.com
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, ClassicalReview.com
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, Resmusica.com
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, Badische-Tagblatt
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."

Robert Hugill, PlanetHugill.com
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