"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 …”

"In particular it was the ravishing voice of young Irish mezzo Tara Erraught that really bowled me over. Dispatching her rapid passages, leaps and high notes with pearly brilliance, she beguiled us all with her delicate coloratura and pellucid tone. At once saucy and sly, Erraught brought Rosina alive perfectly capturing her inherent wilfulness, while in Act II she imbued her character with a certain vulnerability as she sings the alternative aria “Ah se è ver che in tal momento” (not usually included) wondering whether her lover has been faithful or not."

"Of course, the tragic fate of its hero cannot be escaped. In the overwhelming cold, Scott started to hallucinate. In his dream, his wife appears to him, sung in a beguiling mezzo by the superb Tara Erraught." (Bayerische Staatsoper, world premiere)

"Irish mezzo-soprano Tara Erraught was making her American debut in the title role, her voice well-moulded to its coloratura demands, especially in the infamous last aria where she needs to cover a greater-than-two-octave range." (Washington National Opera, La Cenerentola

"Lured into the plot to unsaddle the myth of fidelity, the sisters' housemaid Despina was depicted by Tara Erraught as insightfully as her character with comic aplomb and a bright mezzo." (bayerische Staatsoper, Cosi fan Tutte)