“[…] 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)

“Judging by the frenetic applause, Vincenzo Bellini’s ‘I Capuleti e i Montecchi’ is the most joyous tragedy in a long time. The audience cheers, claps, stomps when young mezzo soprano Tara Erraught appears for her curtain call. Prior this weekend no one knew her. Now she’s a star.” (Bayerische Staatsoper, I Capuleti e i Montecchi) -Rudolf Neumaier

“Daringly she learned the role with five days notice, jumped in for the famous colleague and with the first sung note delivered a self-assured Romeo. Her mezzo is agile, very bright and direct (...). Roaring applause – first and foremost for Erraught.” (Bayerische Staatsoper, I Capuleti e i Montecchi) -Reinhard Brembeck

- ,

“Erraught is one of those singers who take a real delight in negotiating the obstacle courses of virtuosic arias. She sounded fully at home in the brilliant greeting of “Nobles seigneurs, salut!” from Meyerbeer’s Les Huguenots, and delighted in fluttering balletically between the extremes of her range in Cinderella’s “Non più mesta” from Rossini’s La Cenerentola.” (National Concert Hall Dublin)