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Praised for her rich voice, expansive range and dynamic stage presence, Irish-born mezzo-soprano Tara Erraught has been called “a true rising star” by the press. Her international stature has continued to grow since she stepped in on five-days’ notice, learning the role of Romeo in Bellini’s I Capuleti e i Montecchi at the Bayerische Staatsoper in 2011, her performance winning worldwide acclaim. In the seasons since, Ms. Erraught has sung a world premiere, made her US opera debut, numerous role debuts, and successfully toured North America twice. January to August 2016: Following acclaimed series recital debuts in December 2015 at Celebrity Series of Boston and Carnegie Hall, Weill Hall in the United States, Tara Erraught’s second half of her 2015-16 season begins with a January 2016 world premiere; she creates the role of Kathleen Scott in Czech composer Miroslav Srnka’s opera South Pole, commissioned by the Bayersiche Staatsoper and led by music director Kirill Petrenko. She returns to Ireland in February 2016 to sing songs from Mahler’s Des Knaben Wunderhorn with the RTE National Symphony Orchestra in Dublin, and again in April to make her Ireland opera debut singing Rosina in Wide Open Opera’s new production of Il barbiere di Siviglia. Spring also brings Ms. Erraught’s March 2016 recital debut with Japan’s Tokyo Opera Nomori, and three performances celebrating Irish Culture. In April at the United Kingdom’s Wigmore Hall she appears in the Gala Concert, “ Irish Culture in Britain: A Centenary Celebration”, and in May in Washington, DC, she appears with the National Symphony Orchestra for the Opening Night Concert of The Kennedy Center for the Performing Arts’ “Ireland 100: Celebrating a Century of Irish Arts and Culture”, followed by her debut at the Terrace Theater in duo recital with tenor Anthony Kearns. Other debuts this season included the South Denmark Philharmonic, and recital debuts on Ireland’s acclaimed Music for Galway Series and at the Wexford Festival. Additional performances during the first half of 2015-16 included returns to Dublin’s National Concert Hall and the UK’s Wigmore Hall, serving as one of 11 honorary ambassadors for Ireland's Culture Night 2015, and singing in productions of Il Barbiere di Siviglia, Cosi fan Tutte,and Hänsel und Gretel for Bayerische Staatsoper. In June 2016, also with the Bayerische Staatsoper, Tara Erraught sings in productions of Verdi’s La Traviata and makes her role debut as Susanna Le nozze di Figaro. She ends her 2016 summer making her Salzburg Festival debut singing the role of Siebel in the Festival's new production of Gounod's Faust with the Vienna Philharmonic in August.

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Praised for her rich voice, expansive range and dynamic stage presence, Irish-born mezzo-soprano Tara Erraught has been called “a true rising star” by the press. Her international stature has continued to grow since she stepped in on five-days’ notice, learning the role of Romeo in Bellini’s I Capuleti e i Montecchi at the Bayerische Staatsoper in 2011, her performance winning worldwide acclaim. In the seasons since, Ms. Erraught has sung a world premiere, made her US opera debut, numerous role debuts, and successfully toured North America twice.

 

January to August 2016

Following acclaimed series recital debuts in December 2015 at Celebrity Series of Boston and Carnegie Hall, Weill Hall in the United States, Tara Erraught’s second half of her 2015-16 season begins with a January 2016 world premiere; she creates the role of Kathleen Scott in Czech composer Miroslav Srnka’s opera South Pole, commissioned by the Bayersiche Staatsoper and led by music director Kirill Petrenko. She returns to Ireland in February 2016 to sing songs from Mahler’s Des Knaben Wunderhorn with the RTE National Symphony Orchestra in Dublin, and again in April to make her Ireland opera debut singing Rosina in Wide Open Opera’s new production of Il barbiere di Siviglia. Spring also brings Ms. Erraught’s March 2016 recital debut with Japan’s Tokyo Opera Nomori, and three performances celebrating Irish Culture. In April at the United Kingdom’s Wigmore Hall she appears in the Gala Concert, “ Irish Culture in Britain: A Centenary Celebration”, and in May in Washington, DC, she appears with the National Symphony Orchestra for the Opening Night Concert of The Kennedy Center for the Performing Arts’ “Ireland 100: Celebrating a Century of Irish Arts and Culture”, followed by her debut at the Terrace Theater in duo recital with tenor Anthony Kearns. Other debuts this season included the South Denmark Philharmonic, and recital debuts on Ireland’s acclaimed Music for Galway Series and at the Wexford Festival. Additional performances during the first half of 2015-16 included returns to Dublin’s National Concert Hall and the UK’s Wigmore Hall, serving as one of 11 honorary ambassadors for Ireland's Culture Night 2015, and singing in productions of Il Barbiere di Siviglia, Cosi fan Tutte,and Hänsel und Gretel for Bayerische Staatsoper. In June 2016, also with the Bayerische Staatsoper, Tara Erraught sings in productions of Verdi’s La Traviata and makes her role debut as Susanna Le nozze di Figaro. She ends her 2016 summer making her Salzburg Festival debut singing the role of Siebel in the Festival's new production of Gounod's Faust with the Vienna Philharmonic in August.

 

Recent Highlights

Recent opera performances include: a celebrated American opera debut with the Washington National Opera as Angelina in La Cenerentola; role debuts as Kathy in a new production of Poul Rouders’ Selma Jezkova; Carlotta in Strauss’s Die Schweigsame Frau, Op. 80, Christa in Janáček’s The Makropulos Affair, Despina (having previously sung the role of Dorabella) in Mozart’s Così fan tutte, Prince Orlovsky in Strauss’s Die Fledermaus, Cherubino in Mozart’s Le nozze di Figaro, as well as singing Hänsel in Humperdinck’s Hänsel und Gretel and Sifare in Mozart’s Mitridate, re di Ponto with the Bayerische Staatsoper; Rosina in Rossini’s Il Barbiere di Siviglia and Angelina in La Cenerentola with the Hamburg Staatsoper; creating the role of Kitty in the world premiere of Iain Bell’s A Harlot’s Progress at the Theater an der Wien; and her role debut as Octavian in Der Rosenkavalier at Glyndebourne Festival Opera and at the BBC Proms. With the Wiener Staatsoper she sang Rosina in Il Barbiere di Siviglia, as well as the premiere performances of a new production of La Cenerentola, earning accolades from the Frankfurter Allgemeine as the “New Queen of Belcanto”.

 

Recitals and Media

Past recital and orchestral performances include: Kansas City’s Harriman-Jewell Series, Sonoma’s Green Music Center, Santa Monica’s The Broad Stage, Ann Arbor’s University Musical Society, Georgia’s Spivy Hall and Savannah Music Festival in the United States; Canada’s Vancouver Recital Society; London’s Wigmore Hall; Dublin’s National Concert Hall and a solo opera gala concert with the RTE National Symphony Orchestra, and Munich’s Nymphenburg Sommer and Bayerische Festspiele. Ms. Erraught can be seen on DVD in the title role of Richard Strauss’s Der Rosenkavalier on the Opus Arte label.

 

Awards

Audiences and Press are not alone in taking notice of Ms. Erraught’s talent: in spring 2013, the Bavarian government bestowed upon her the prestigious Pro meritis scientiae et litterarum in recognition for outstanding contribution to the arts. She is only the fifth musician, and the youngest recipient, to be honored with the annual award since its inception in 2000. In March of 2010 Ms. Erraught was the recipient of Dublin’s National Concert Hall's Rising Star Award. Other honors include First Prize in the Jakub Pustina International Singing Competition in the Czech Republic, along with the Zdar nad Sazavou Audience Prize in 2008. In that same year she was awarded both the Houston Grand Opera Prize and the Washington National Opera Prize at the International Hans Gabor Belvedere Singing Competition in Vienna. In 2007 Ms. Erraught won the Dermott Troy Award for the Best Irish Singer.

 

Background

A native of Dundalk, Ireland, Tara Erraught is a graduate of the Royal Irish Academy of Music in Dublin, where she studied, and continues to study, with the acclaimed Royal Opera soprano Veronica Dunne. A resident principal soloist with the Bayerische Staatsoper in Munich since 2010 (she was a member of the company’s opera studio from 2008 – 2010), Ms. Erraught also works with famed German mezzo-soprano Brigitte Fassbaender, expanding her lieder and opera repertoire.

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Reviews

"Erraught showed she has the X factor...she came, she sang, she conquered."

Irish Times

"Erraught has developed into one of those singers who allows you to take virtually everything for granted: clarity and beauty of tone, fine-tuned emotional and musical responsiveness, vivid communication, and security of technique and intonation. In addition she has that elusive X factor, that hidden message saying that she’s standing on the stage for her own pleasure as well as for yours. She gives the impression it’s just the way she is. "

Irish Times

"...vocally and dramatically her performance was flawless..."

Seen and Hear International

"...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 …."

The Vancouver Sun

"Tara Erraught sings the castrato role of Sesto with a beautifully formed mezzo-soprano voice; she, too, has a big aria, “Parto, parto,” ...and it is the high point of Act 1."

The New York Times

"The scena provided us time to admire Erraught’s intense, spinning top notes. A lyric mezzo with a rather sizeable voice, her instrument possesses the earthy timbre of an alto, but the range of a soprano. Her Bartoli-like melismas and long phrases showcased the utmost vocal freedom and an easy, pulsing vibrato that was stunning to hear."

ArtsATL

"Right at the first go with her Octavian Erraught succeeds in making a convincing role debut. With her clear mezzo - always reliable at high pitch - she manages this demanding part like a walk in the park. …Playing the part of the ardent lover, the one of the quick-tempered youth or a bizarre Mariandl, Erraught meets every facet of the role - her conscientious handling of the text being a great asset."

Opernglas

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Discography