"The supporting parts are very well taken, and more than that in the matter of Tara Eraught's warm-spirited, generously sung Annio." (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)

"The singing was on a very high level. The youthful cast were game for the physical challenges of the production, and seemed to relish the opportunity to act out some fantasies. ...Tara Erraught impressed with her rich and clear coloratura singing..."

"...as Servilia and Annio, Regula Mühlemann and Tara Erraught make the most of their affecting arias and one zinging duet — late Mozart jewels plentifully scattered among the dustier recitatives..."

"The smaller roles are impeccably cast, with Regina Mühlemann dewdrop-sweet as Servilia, Tara Erraught making much of Annio, and Adam Plachetka as the commander Publio, who sounds rather more secure than his emperor."

(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)

"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)

"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."

“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)

“...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.”

“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.”

“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)

“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.”

“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.”

"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)

"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."

"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)