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Few emerging artists have captured the attention of the international opera public as the Irish-born mezzo-soprano Tara Erraught. A member of the ensemble of the Bayerische Staatsoper, she won widespread acclaim in February 2011, first in the title role of a new production of Ravel’s L’enfant et les sortilèges and, in the same month, jumping in for an ailing colleague on five-days' notice to perform Romeo in a new production of Bellini’s I Capuleti e i Montecchi. The latter catapulted Ms. Erraught to worldwide acclaim. Over the past few seasons, Ms. Erraught’s international stature has continued to grow, and the 2013-2014 season reaffirms this with a world premiere, and three role debuts amongst other engagements. In late spring/early summer 2013, Tara Erraught sings Nicklausse/The Muse in Offenbach’s Les contes d’Hoffmann with the Bayerische Staatsoper in Munich, followed by a recital at Nymphenburg Sommer in celebration of the festival’s 10th anniversary. Fall 2013/winter 2014 performances include creating the role of Kitty in the world premiere of Iain Bell’s A Harlot’s Progress at Theater an der Wien; and with Bayerische Staatsoper she reprises

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Few emerging artists have captured the attention of the international opera public as the Irish-born mezzo-soprano Tara Erraught. A member of the ensemble of the Bayerische Staatsoper, she won widespread acclaim in February 2011, first in the title role of a new production of Ravel’s L’enfant et les sortilèges and, in the same month, jumping in for an ailing colleague on five-days' notice to perform Romeo in a new production of Bellini’s I Capuleti e i Montecchi. The latter catapulted Ms. Erraught to worldwide acclaim.

Over the past few seasons, Ms. Erraught’s international stature has continued to grow, and the 2013-2014 season reaffirms this with a world premiere, and three role debuts amongst other engagements. In late spring/early summer 2013, Tara Erraught sings Nicklausse/The Muse in Offenbach’s Les contes d’Hoffmann with the Bayerische Staatsoper in Munich, followed by a recital at Nymphenburg Sommer in celebration of the festival’s 10th anniversary. Fall 2013/winter 2014 performances include creating the role of Kitty in the world premiere of Iain Bell’s A Harlot’s Progress at Theater an der Wien; and with Bayerische Staatsoper she reprises her role as Hänsel in Humperdinck’s Hänsel und Gretel, and as Angelina in Rosssini’s La Cenerentola. Also in Munich, Ms. Erraught makes her role debut as Sesto in Mozart’s La clemenza di Tito. In spring 2014, she returns to the UK and the Glyndebourne Festival in yet another role debut (Glyndebourne 2014 season yet to be announced). Summer engagements include the Bayerische Staatsoper’s productions of Strauss’s Die Frau ohne Schatten and the second set of performances of La clemanza di Tito. Future performances include Ms. Erraught’s debut at the BBC Proms, a second North American recital tour, and stage debuts at the Washington National Opera and San Francisco Opera.

Performance highlights of 2012-2013 included Ms. Erraught’s debut, at 26 years of age, at the Wiener Staatsoper, where she sang Il barbiere di Siviglia in the autumn as well as the premiere performances of a new production of La Cenerentola to great acclaim early in 2013.  In Munich, she sang in a new  production of Hänsel und Gretel as well as her first performances of Die Fledermaus as Prince Orlovsky and of Les contes d’Hoffmann as Nicklausse. In spring 2013, she made a successful premiere recital tour to North America. She also was honored by the Bavarian government, which 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 receive this honor since the annual award’s inception in 2000.

A native of Dundalk, Ireland, Tara Erraught graduated from the Royal Irish Academy of Music in Dublin and has been a member of the opera studio at the Bavarian State Opera in Munich since 2008. In summer 2010 she joined internationally celebrated French pianist Jean-Yves Thibaudet for the Prinsengracht-concert telecast from the canals of Amsterdam and made her debut at the Glyndebourne Festival Opera. Ms. Erraught won First Prize in the Jakub Pustina International Singing Competition in the Czech Republic along with the Zdar nad Sazavou Audience Prize in May 2008. In that same year she was awarded with both the Houston Grand Opera Prize and the Washington National Opera Prize at the International Hans Gabor Belvedere Singing Competition in Vienna. In March of 2010 she was awarded the National Concert Hall's Rising Star Award in Dublin. She has also won the Dermott Troy Award for the Best Irish Singer.

Ms. Erraught considers herself fortunate to continue her studies in Dublin with the acclaimed Royal Opera soprano Veronica Dunne, who has been the guiding force in her musical career. In Munich, where she makes her home, she has the privilege to work with famed German mezzo-soprano Brigitte Fassbaender on her current repertoire.                                                                            

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Reviews

"...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