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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. Tara Erraught’s 2015-2016 season is marked by debuts and recitals.  Summer 2015 begins with her first solo opera gala concert with the RTE National Symphony Orchestra, followed by engagements with the Bayerische Staatsoper including Mozart’s Die Zauberflote; Janacek’s The Makropulos Affair; Strauss’s Die Schweigsame Frau, Op. 80, and Tara’s debut in the role of Kathy in a new production of Poul Rouders’ Selma Jezkova.  She also sings the commissioned world premiere of Iain Bell’s Litany in the Time of Plague at a Festspiele concert in late July. Between September and May, she appears in five

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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.

Tara Erraught’s 2015-2016 season is marked by debuts and recitals.  Summer 2015 begins with her first solo opera gala concert with the RTE National Symphony Orchestra, followed by engagements with the Bayerische Staatsoper including Mozart’s Die Zauberflote; Janacek’s The Makropulos Affair; Strauss’s Die Schweigsame Frau, Op. 80, and Tara’s debut in the role of Kathy in a new production of Poul Rouders’ Selma Jezkova.  She also sings the commissioned world premiere of Iain Bell’s Litany in the Time of Plague at a Festspiele concert in late July. Between September and May, she appears in five productions with Bayerische Staatsoper: with music director Kirill Petrenko, she creates the role of Kathleen Scott in the commissioned world premiere of Czech composer Miroslav Srnka’s South Pole, a double opera in two parts; and sings in Il Barbiere di Siviglia, Cosi fan Tutte, Hänsel und Gretel, and The Makropulos Affair.  An active recitalist, Ms. Erraught tours Ireland, the UK and the U.S. in the fall. She gives recitals at Dublin’s National Concert Hall, debuts on the acclaimed Music for Galway Series and in recital at the Wexford Festival (the first performance in a multi-year engagement), returns to London’s Wigmore Hall and makes her series debut recitals at Celebrity Series of Boston and Carnegie Hall, Weill Hall.  Additional debuts include the South Denmark Philharmonic (Sonderjyllands Symfoniorkester), with Ireland’s Wide Open Opera in Il barbiere di Siviglia, and with Tokyo Opera Nomori in recital. In June 2016, Ms. Erraught makes her role debut as Susanna in the Bayerische Staatsoper’s production of Le Nozze di Figaro.

Past performances include: an acclaimed American opera debut with the Washington National Opera as Angelina in La Cenerentola; role debuts as 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 Die Fledermaus, Cherubino in Le Nozze di Figaro, as well as singing Hänsel in Hänsel und Gretel 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”.

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 Dermott Troy Award for the Best Irish Singer.

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 member of the opera studio at the Bayerische Staatsoper in Munich since 2008, 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

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Discography