The mezzo-soprano Tara Erraught soars in the title role, whose vocal demands surpass even those for Elisabetta

a voice that inspired pity that would have moved even the stoniest of hearts

This is a superbly controlled performance, worthy of a recording, and the audience respond enthusiastically

Eine Mezzosopranistin mit großer Stimme, die sie sehr schön zurückzunehmen weiß, und ein einfühlsamer Pianist gestalteten am Sonntagabend einen abgerundeten Liederabend, der sich nach Schuberts eigener Reihung in Liederheften richtete

Erraught sang the title role with plush warmth, perfectly matching the timbre of the supple mezzo of Anna Stéphany as Prince Charming.

L’Iphigénie de Tara Erraught est dans ce sens émouvante et intense à souhait, habitée par le personnage, tout en gardant une ligne mélodique immaculée,

Tara Erraught schafft es, die alte und von ihr erinnerte junge Iphigénie zugleich zu sein. Tara Erraught kann das Verängstige wie das Kurzentschlossene wie das Sinnliche. Ihr Sopran schmiegt sich nahtlos dem Text und der Dramatik an, ganz so wie es Gluck für seine Musik wollte und wie er es hier in diesem Meisterstück grandios verwirklicht. Alles ist Abbreviatur, kein Ton ist zu viel, kein Schnörkel zeigt sich. Das Leid und das Leiden werden aus den Klängen herausdestilliert, die mal mythologisches Dunkel sind, mal Hass und Blutdurst, mal Sex und Sehnsucht nach dem Paradies.

Tara Erraught, Irish National Opera showcase bel canto singing and Erraught's talent, with Erraught revealing why she is taking the world by storm

The absence of an audience created no obstacle for Erraught, who showed marvellous tone control in the slow opening of ‘Se Romeo t’uccise un figlio’ from Bellini’s I Capuleti e i Montecchi, before dancing through the later, quicker passages. She created a beautiful, gentle atmosphere in the same composer’s ‘Dopo l’uscoro nembo’ from the Irish-themed opera Adelson e Salvini

Mezzo-Soprano Tara Erraught on Bringing Cenerentola to the Met Opera
The Irish singer stars in Rossini's sparkling take on the Cinderella story, alongside tenor Javier Camarena as her Prince Charming, beginning March 12.

Makellos schön ist ihr Ansatz, ihr Timbre vielfältig und farbenreich. In der Tiefe klingt sie dunkel und voll, ihre Höhe klar und jugendlich; beides weiß Erraught geschickt und nuancenreich zu mischen.

Erraught is one of those singers who seem to naturally connect with an audience — her warmth of personality and lack of artifice are evident immediately.

Erraught has a bright mezzo with an appealing gleam in her upper registers, where her dynamic control is also exceptional, allowing her to float the final phrases of Mahler’s Ich Bin Der Welt Abhanden Gekommen with easy serenity. She’s also a fine vocal actor, nicely alert to mood and psychology, capable of bringing gossipy relish to Loewe’s wicked depiction of a parson’s daughters in Die Pfarrjüngferchen, and investing Goethe’s Gretchen, in Loewe’s remarkable Szene aus Faust, with considerable tragic force and weight.

"The Milwaukee Symphony Orchestra and Chorus, led by guest conductor Eun Sun Kim and joined by baritone Stephen Powell and soprano Tara Erraught, gave a deeply stirring performance of Johannes Brahms’ “Ein deutsches Requiem” (“A German Requiem”) Friday evening in Uihlein Hall."

" Mezzo soprano Tara Erraught, a last-minute replacement due to illness, sang as Marguerite, Faust’s heavenly squeeze. She conjured effortless innocence with a full, round timbre that she projected spinning round the hall."

Klassik-Blog für Konzertberichte und Opernkritiken aus Berlin, Bayreuth, München etc.

"Die temperamentvolle Donna Elvira von Tara Erraught… …führt einen farbreichen und ausdrucksstarken Mezzosopran von herber Wärme ins Feld. Die feurigen Oktavsprünge in der 1. Arie (Ah, chi mi dice mai) stemmt sie eher athletisch…. Schön die sorgfältigen Piani im mit Verve gesungenen Mi tradì quell’alma ingrata."

"The spirited Donna Elvira by Tara Erraught … …brings a colorful and expressive mezzo-soprano of bitter warmth into the field. Her fiery octave jumps in the 1st aria (Ah, chi mi dice mai) are strong and athletic…. Beautiful, meticulous piani sung with vivacity in Mi tradì quell'alma ingrata." (Staatsoper Berlin, Mozart's Don Giovanni)

"The role of Donna Elvira, a jealous and furious ex of Don Giovanni, is most gratifyingly filled by Tara Erraught. … celebrating great success on international stages, she has a very fresh and girlish mezzo-soprano, which is underpinned by a rather dramatic middle. ... Nevertheless, with her dominant, yet quite appealing juvenile vocal coloring, she succeeds in an impressive and amusing role portrait, whereby not only the dramatic outbursts but also the lyrical and empathetic moments of Donna Elvira should be mentioned. The humor, which Tara Erraught personally contributes to this role, stimulates a smile and testifies to a blazing enthusiasm for the vocal profession.(Staastoper Berlin, Mozart's Don Giovanni)

"As Annio, Tara Erraught displays a mezzo-soprano with a lower center of gravity, contrasting nicely with DiDonato’s. The character doesn’t have much to do other than react, but Erraught’s reactions are always alert and engaged."

"In Munich, the Bayerische Staatsoper offered us a delectably youthful Così, with a winning Despina from Tara Erraught..."