Acclaimed young mezzo-soprano Tara Erraught shows intelligence and complexity in Vancouver recital

“...a succession of arias by Handel and Rossini showed what this impressive new singer is really all about. Having established her vocal and interpretive credentials in the earlier part of the recital, here, at last, she cut loose with roulades and ornaments galore, agility, irrepressible verve and obvious joy in performing. With co-recitalist — indeed, co-conspirator — Jonathan Ware at the keyboard, Erraught delivered an ultra-flashy rendition of Dopo notte from Ariodante, then the famous, exquisite Lascia ch’io pianga from Rinaldo. Her lithe virtuosity unleashed, the recital went into overdrive, ending, at least officially, with a hilarious rendering of Una voce poco fa from Rossini’s The Barber of Seville. … In all, this was a convincing demonstration that, once again, Vancouver audiences have heard a true rising star …." (North American Recital Tour, Chan Centre,Vancouver Recital Society, Vancouver, Canada)

"…She has an exciting and excellent top …and she has great facility and ease with the German language. …The first half ended with Brahms’ “Gypsy Songs.” Op 103. …Brahms arranged Nos. 1 to 7 and 11 for solo voice and piano in 1889, and these eight were sung by Ms. Erraught with brilliance of tone, vibrant shimmering high notes, and exciting dynamic contrasts. Coming back for the second half wearing a royal blue Grecian-style gown, Ms. Erraught sang six of Wolf’s “Morike Lieder.” …Again, in singing a group with wide demands in terms of range, color and dynamics, I heard in Ms. Erraught an accomplished, elegant, tasteful, and perceptive performer. …Saving the best for last in Handel and Rossini arias the singer, as they say, knocked it out of the park. “Dopo notte,” from Ariodante, could not have been a bigger contrast from the Wolf miniatures. With jaw-dropping agility and speed, loads of clean, accurate trills, impressive evenness of scale from top to bottom (and back up again and again and again), it was a total showpiece. …“Una voce poco fa” from Rossini’s Barbiere di Siviglia is sometimes considered a ‘warhorse,’ but it’s always an aria where a singer can prove her bonafides and bid to be added to the list of greats who have gone before. There’s no doubt, Tara Erraught is fast. Furiously fast. Think Cecilia Bartoli-fast. At that point, the audience was more than ready to express their appreciation with a standing ovation, which earned them the pleasure of two encores. (2013 North American Tour, Green Music Center, Sonoma, CA)

“Dublin-born mezzo-soprano Tara Erraught made her American recital debut with the Harriman-Jewell Series on April 12, adding her name to the long list of distinguished singers who have first performed as recitalists on the local series. She revealed herself to be a masterful actress, utilizing a wide variety of expressions and gestures to plumb the emotional gamut of a both songs and opera arias. …The program was heavy with German interpretations, as might be expected from a singer of the Bavarian State Opera who has made her mark in such German-speaking musical capitals as Munich and Vienna. Her first series of songs, by the Czech composer Antonin Dvo?ák but sung in German, found her best engaged in the painfully tortured “Ám Bache,” about a river which, flowing onward, carries away the flower of youth. … In a series of gypsy songs by Johannes Brahms, she was the master of all dynamics, from the fiercely declamatory to light and almost impressionistic phrases.” (2013 North American Tour, Harriman-Jewell Series)

“Throughout the evening, Erraught projected a warm, engaging stage persona that served her well in the wide musical variety of the first half's program choices. She's only 26, but Tara Erraught already has a classic, surprisingly mature mezzo voice: it's big, strong, dark and rich. …True to show-biz convention, the fireworks came at the end in Handel’s aria “Dopo notte” from his 1735 opera “Ariodante” and in “Una voce poco fa” from Rossini’s “The Barber of Seville.” The Handel’s fearless, impeccable performance deserved its standing ovation and chorus of Bravos! from the audience, as did the Rossini.” (2013 North American Tour, Harriman-Jewell Series)

“The evening, however, belonged to the young Irish mezzo Tara Erraught as the put-upon Angelina. With her accurate, fleet divisions and sweet disposition she won the audience’s hearts completely.” (Wiener Staatsoper, Rossini, La Cenerentola)

“Neue Königin des Belcanto” – “New Queen of Belcanto” (Wiener Staatsoper, Rossini, La Cenerentola)

“The singer in the title role is a genuine find. Tara Erraught plays Angelina lively and touching, her mezzo is capable of pearling coloraturas and clear high notes.” (Wiener Staatsoper, Rossini, La Cenerentola)

“The young Irish debutante wins over the audience. (...) Who would believe the modest girl, who sings the ballad of the courting king in touching subtlety, being capable of the brilliant, sparkling coloraturas of the finale? Erraught sings them perfectly pitched and clearly articulated up until the highest registers.” (Wiener Staatsoper, Rossini, La Cenerentola)

“[…] It’s a sensation to see the 25 year-old Tara Erraught perform in Barbiere di Siviglia at the Bavarian State Opera: with her fresh joy for acting she gives the role of Rosina all the innocence and erotic shimmer which is part of the stereotype of the ‘shrewd girl’. One of the great stereotypes of the opera business proved true for the young Irish singer herself last year: within five days she jumped in for an ailing Vesselina Kasarova at the premiere of Bellini’s I Capuleti e I Montecchi. Ever since, she is high demand for big roles in the international opera circuit – she will sing Rosina in Rome as well as at the Vienna State Opera this year. Understandably, also judging from her vocal qualities: she carves out and subtly phrases the voluptuous coloraturas with a bell-like clear soprano with mezzo tendencies.” (Bayerische Staatsoper, Rossini, Il Barbiere di Siviglia)

“The production was to have featured the Romeo of Vesselina Kasarova, who canceled due to illness several days before the premiere. The Bavarian State Opera was compelled to dig into its own ensemble. Showing its faith in talented young Irish mezzo Tara Erraught — recently heard in Munich to great advantage as the Child in Ravel's L'Enfant et les Sortilèges — the company literally thrust her into the limelight. Learning the role in several days, Erraught took advantage of her opportunity, making a quantum leap into the major leagues. Her bright, highly placed voice is evenly produced, full of color and void of artificiality. She was also able to decorate her vocal lines with consummate taste, and she acted with conviction and enthusiasm.” (Bayerische Staatsoper, I Capuleti e i Montecchi)