Tara Erraught

Mezzo-Soprano

Biography

A rich, radiant voice, expansive range and dynamic stage presence are the hallmarks of Irish mezzo-soprano Tara Erraught. With a wide repertoire that includes Bellini, Dvorak, Gounod, Mozart, Puccini, Rossini, Strauss and Verdi, as well as contemporary composers, she enjoys an ever-growing international career on the opera, orchestra and recital stages. In recent seasons Ms. Erraught has sung world premieres, made numerous role debuts, and appeared in recitals and concerts throughout the United States, Canada, Denmark, France, Ireland, Japan, Mexico, Spain, Germany, and the United Kingdom.

2018-19 Season
Following summer engagements that include Parsifal (Zweiter Knappe) with Bayerische Staatsoper and Orlando Paladino (Alcina) at Munich’s Prinzregententheater, and the July 6, 2018 release of Deutsche Gramophone’s live recording of two concert performances of Mozart’s La Clemenza di Tito in Baden-Baden in which she made her role debut as Annio, 2018-19 season highlights include singing the role of Angelina in La Cenerentola in an eight-city tour of the United Kingdom with Welsh National Opera; Despina in Cosi fan tutte and Hansel in Hänsel und Gretel with Bayerische Staatsoper; and Donna Elvira in Don Giovanni with Staatsoper Berlin. Miss Erraught also makes her debut with the symphony orchestras of Indianapolis and Milwaukee and can be heard in recital on the UK’s Oxford Lieder Festival and the Sir Arthur Bliss International Song Series at Cambridge University, and on Ireland’s National Concert Hall International Concert Series and Drogheda Classical Music Series.

Opera Highlights
Recent opera highlights include company debuts with Gran Teatre del Liceu (Stéphano, Roméo et Juliette); The Metropolitan Opera (Nicklausse/The Muse, Offenbach’s Les Contes d’Hoffmann and Hansel in Humperdinck’s Hansel and Gretel); Irish National Opera’s first season (Susanna, The Marriage of Figaro); Staatsoper Berlin (Rosina, Rossini’s Il Barbiere di Siviglia); Bayerische Staatsoper (reprise of Angelina, La Cenerentola; Carlotta, Die Schwiegsame Frau); Ireland’s Opera Theater Company (Dona Elvira in the world premiere of Roddy Doyle’s new translation of Mozart’s Don Giovanni) and Wide Open Opera (Rosina in a new production of Il Barbiere di Siviglia). Role debuts include Annio in Mozart’s La Clemenza di Tito with Joyce DiDonato as Sesto and Rolando Villazon as Tito under Yannick Nézet-Séguin in Baden-Baden; as The Composer in Strauss’s Ariadne auf Naxos for Bayerische Staatsoper; at the Salzburg Festival singing Siebel in a new production of Gounod’s Faust with the Vienna Philharmonic; as Susanna in Mozart’s Le Nozze di Figaro, and creating the role of Kathleen Scott in the commissioned world premiere of Czech composer Miroslav Srnka’s opera South Pole, both for Bayerische Staatsoper.

Miss Erraught has made 41 role debuts with the Bayerische Staatsoper alone; among them Kathy in a new production of Poul Rouders’s Selma Jezkova; Carlotta in Strauss’s Die Schweigsame Frau, Op. 80, Christa in Janacek’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, Sesto in Mozart’s La Clemenza di Tito, as well as singing Hansel in Humperdinck’s Hänsel und Gretel and Sifare in Mozart’s Mitridate, re di Ponto. She made her acclaimed American debut with Washington National Opera singing Angelina in La Cenerentola. With Staatsoper Hamburg she has sung Rosina in Rossini’s Il Barbiere di Siviglia and Angelina in La Cenerentola. Miss Erraught also created the role of Kitty in the world premiere of Iain Bell’s A Harlot’s Progress at the Theater an der Wien; and made her role debut as Oktavian 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”. In 2011, she won worldwide acclaim when she stepped in on five-days’ notice, learning the role of Romeo in Bellini’s I Capuleti e i Montecchi for the Bayerische Staatsoper.

Recitals and Media
Past recital and orchestral performances include, in North America: New York’s Carnegie Hall, Weill Hall, Celebrity Series of Boston, Kennedy Center for the Performing Arts’ Terrace Theater, Vocal Arts DC, Kansas City’s Harriman-Jewell Series, Ann Arbor’s University Musical Society, Sonoma’s Green Music Center, Santa Monica’s The Broad Stage, Georgia’s Spiky Hall and Savannah Music Festival in the United States; Canada’s Vancouver Recital Society, and the Auditorio Nacional in Mexico City, Mexico. International appearances include Austria’s Schubertiade, Schwarzenberg; Wigmore Hall’s Rosenblatt Recital Series, the BBC Proms, and Welsh National Opera’s International Concert Series in the UK; France’s Le Grand Foyer Series, Opera de Lille; Japan’s Tokyo Opera Nomori; Ireland’s National Concert Hall (Dublin), Music for Galway Series, Drogheda International Classic Music Series, Wexford Festival, , serving as one of 11 honorary ambassadors for Ireland’s Culture Night 2015, and special performances celebrating Irish Culture during the Irish Centennial in London and in Washington, DC, as well as solo opera gala concerts with the RTE National Symphony Orchestra; The South Denmark Philharmonic, Germany’s Heidelberger Frühling, Munich’s Nymphenburg Sommer and Bayerische Festspiele.

In addition to the Deutsche Gramophone La Clemenza di Tito recording, Ms. Erraught can be seen on DVD in the title role of Richard Strauss’s Der Rosenkavalier on the Opus Arte label.

Awards
Amongst Tara Erraught’s awards and honors are a prestigious Promeritis scientiae et litterarum (2013) from the Bavarian government in recognition for outstanding contribution to the arts (she is the fifth musician to be honored with the annual award since its inception in 2000); a 2010 Dublin’s National Concert Hall’s Rising Star Award, and a 2007 Dermott Troy Award for the Best Irish Singer. 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. This summer 2018, RTE selected Miss Erraught as one of 25“movers and shakers who define Irish culture in 2018.”

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 from 2010 – 2018 (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.

Current September 2018

Reviews

“…vocally and dramatically her performance was flawless…”

Seen and Heard International

“…even to the uninitiated it is obvious that Tara Erraught could probably sing the phone book and make it a moving experience ….”

Evening Echo

More Reviews

“In particular it was the ravishing voice of young Irish mezzo Tara Erraught that really bowled me over. Dispatching her rapid passages, leaps and high notes with pearly brilliance, she beguiled us all with her delicate coloratura and pellucid tone. At once saucy and sly, Erraught brought Rosina alive perfectly capturing her inherent wilfulness, while in Act II she imbued her character with a certain vulnerability as she sings the alternative aria “Ah se e verche in tal momento” (not usually included) wondering whether her lover has been faithful or not. Erraught has been often dubbed as a rising star of the opera world: I think last night’s performance proved her as a luminously brilliant star at her zenith.”

Bachtrack.com, April 21, 2016

 

“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 February 2014

 

“…even to the uninitiated it is obvious that Tara Erraught could probably sing the phone book and make it a moving experience ….”

– Evening Echo, October 5, 2016

 

 “…The Irish mezzo could not have been more endearing here. A natural actress, Erraught nicely conveyed the expected Cinderella traits of humility, sweetness and longing, all while singing up a storm.  …the mezzo produced a smooth, supple sound. Coloratura was negotiated cleanly and colorfully, nowhere more impressively than in “Nacqui all’affanno … Non piu mesta,” which Erraught sculpted with abundant variety of dynamics, sensitivity to text and tonal velvet.”

 – Opera News, August 2015

 

“…vocally and dramatically her performance was flawless…”

– Seen and Hear International

 

 Tara Erraught impresses in local debut

“The program was an impeccably prepared tour of her favorite song repertoire, with selections by Liszt, Delius, Brahms, Strauss, and Roger Quilter. From the opening poised account of Liszt’s ‘Enfant, si j’etais roi,’ Erraught displayed a voice of supple warmth and glowing fullness. But what also distinguished this recital was the acuity of her dramatic instincts. The format of the art song recital, beyond its vocal demands, asks that singers inhabit a parade of often wildly divergent characters. …Erraught, striking in her self-possession, showed she has a gift for the dramatic pivot. She was instantly in character at the start of each new song, and her performances artfully summoned not only the music itself but the distinctive expressive space around the notes. … Throughout the night, one also appreciated Erraught’s attention to details, including those of diction. Closing consonants were enfolded in the line with relative naturalness, and without that exaggerated pop. And she scaled the dimensions of her voice with precision, bringing a sense of sonic plentitude without ever flooding the space.”

– Jeremy Eichler, Boston Globe, Dec. 4, 2015

 

RTE National Symphony Orchestra Gala 2015

“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…”

The Irish Times, 6/10/15

 

“…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

 

“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

 

“Tara Erraught’s Octavian was superbly sung and acted: particularly impressive was her meticulous attention to the dramatic inferences and details – Erraught even altered her accent, to considerable comic effect, when disguised as Mariandel. In the opening scenes, this Octavian was by turns ardent and tender, petulant and exuberant, stubborn and emollient; and Erraught’s focused, bright, strong sound conveyed the confidence of youth and intimated the man Octavian will become. Erraught’s mezzo swelled glossily, blooming into the auditorium, as Octavian, inflamed with adolescent self-assurance, craved both Love and his beloved Bichette: ‘Ja, ist Sie da? Dann will ich Sie halter, dass Si emir nicht wieder entkommt!’ (Is she really here? I will hold her lest she escapes me again!) This was the performance of the evening.”

OperaToday.com, July 2014