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Neue Knigin des Belcanto New Queen of Belcanto -Frankfurter Allgemeine, 31 January 2013


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She's only 26, but Tara Erraught already has a classic,

surprisingly mature mezzo voice: it's big, strong, dark and rich. -Kansas City Star , 13 April 2013




TARA ERRAUGHT, mezzo-soprano

Few emerging artists have captured the attention of the international opera public as the Irish-born mezzo-soprano Tara Erraught. A member of the Bayerische Staatsoper, she won widespread acclaim in February 2011, first in the title role of a new production of Ravels LEnfant et les Sortilges and, in the same month, jumping in for an ailing colleague on five-days notice to perform Romeo in a new production of Bellinis I Capuleti e i Montecchi. The latter catapulted Ms. Erraught to world-wide acclaim. Over the past few seasons, Ms. Erraughts 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 Offenbachs Les Contes dHoffmann with the Bayerische Staatsoper in Munich, followed by a recital at Nymphenburg Sommer in celebration of the festivals 10th anniversary. Fall 2013/winter 2014 performances include creating the role of Kitty in the world premiere of Iain Bells A Harlots Progress at Theater an der Wien; and with Bayerische Staatsoper, she reprises her role as Hnsel in Humperdincks Hnsel und Gretel, and as Angelina in Rossinis La Cenerentola. Also in Munich, Ms. Erraught makes her role debut as Sesto in Mozarts 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 Staatsopers productions of Strausss Die Frau ohne Schatten and the second set of performances of La Clemenza di Tito. Future performances include Ms. Erraughts 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. Erraughts debut season, 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 Hnsel und Gretel as well as her first performances of Die Fledermaus as Prince Orlovsky and of Les Contes dHoffmann 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. At 26 years of age, she is only the fifth musician, and the youngest recipient, to receive this honor since the annual awards 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 Bayerische Staatsoper in Munich since 2008. In summer 2010 she joined internationally celebrated French pianist Jean-Yves Thibaudet for the Prinsengrachtconcert 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 the recipient of 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 Brigitta Fassbaender on her current repertoire. Current May 2013 Check back to Taras facebook page for the launch of her new website, coming late summer.
Management: IMGA Artists LLC New York City J.F. Mastroianni & Kristin Schuster, Managers Adam Cavagnaro, Managerial Associate PR Contact: Laura Grant, Grant Communications 978.208.0552; 917.359.7319;

TARA ERRAUGHT, mezzo-soprano 2013-2014 Season

MAY 2013 18, 24, 29 Bayerische Staatsoper Offenbach, Les Contes dHoffmann (Nicklausse/The Muse) Emmanuel Villaume, conductor Bayerische Staatsoper Offenbach, Les Contes dHoffmann (Nicklausse/The Muse) Emmanuel Villaume, conductor Munich, GER FEBRUARY 2014 10, 12, 15, Bayerische Staatsoper 20, 23, 26 Mozart, La Clemenza di Tito (Sesto) Role Debut Kirill Petrenko, conductor MARCH 4, 7, 9, 12 Bayerische Staatsoper Rossini, La Cenerentola (Angelina) Munich Opera Festival of the Bavarian State Opera Strauss, Die Frau ohne Schatten (Stimmen der Ungeborenen) Kirill Petrenko, conductor Munich Opera Festival of the Bavarian State Opera Mozart, La Clemenza di Tito (Sesto) Role Debut Kirill Petrenko, conductor

(Subject to Change)

Munich, GER

JUNE 2, 5, 8

Munich, GER

Munich, GER


Recital - Nymphenburg Sommer Hubertussaal, Schloss Nymphenburg Munich, GER Brahms, Zigeunerlieder Respighi O falce di luna; Nebbie; Notte Dvorak: 4 Lieder Op. 82; "Na to bych se podivala" from Der Dickschdel" Op. 17 " Meyerbeer, Nobles seigneur, salut! from Les Huguenots Gounod, Si le bonheur a sourire t'invite from Faust Bellini, Deh! Tu Deh! (from I Capuleti e i Montecchi) Mozart, Parto, Parto from La Clemenza di Tito Henning Ruhe, pianist Theater an der Wien Vienna, AUT Bell, A Harlots Progress - World Premiere (Kitty) Donald Runnicles, conductor


Munich, GER

JULY 1, 5

Munich, GER

OCTOBER 13, 16, 18, 21, 24, 27

Future Engagements include: Glyndebourne Festival Opera BBC Proms A second North American recital tour

DECEMBER 21, 29 Bayerische Staatsoper Munich, GER Humperdinck, Hansel and Gretel (re-engagement) (Hansel) Tomas Hanus, conductor
Management: IMGA Artists LLC New York City J.F. Mastroianni & Kristin Schuster, Managers Adam Cavagnaro, Managerial Associate 212.994.3500

PR Contact: Grant Communications Laura Grant 978.208.0552; 917.359.7319;

Tara Erraught, mezzo-soprano - Selected Press Acclaim

North American Debut Recital Tour, April 2013 Harriman-Jewell Series, Kansas City, Missouri She's only 26, but Tara Erraught already has a classic, surprisingly mature mezzo voice: it's big, strong, dark and rich. True to show-biz convention, the fireworks came at the end in Handels aria Dopo notte from his 1735 opera Ariodante ...The Handels fearless, impeccable performance deserved its standing ovation and chorus of Bravos! from the audience, as did the Rossini. -John Heuertz, The Kansas City Star, 04/13/2013 In a series of gypsy songs by Johannes Brahms, she was the master of all dynamics, from the fiercely declamatory to light and almost impressionistic phrases. -Don Dagenais,, 04/16/2013 Green Music Center, Sonoma, California The first half ended with Brahms Gypsy Songs. Op 103. sung by Ms. Erraught with brilliance of tone, vibrant shimmering high notes, and exciting dynamic contrasts. . Una voce poco fa from Rossinis Barbiere di Siviglia is sometimes considered a warhorse, but its always an aria where a singer can prove her bonafides and bid to be added to the list of greats who have gone before. Theres no doubt, Tara Erraught is fast. Furiously fast. Think Cecilia Bartoli-fast. At that point, the audience was more than ready to express their appreciation with a standing ovation, which earned them the pleasure of two encores. -Vaida Falconbridge, Classical Sonoma, 04/21/2013 Chan Centre, Vancouver Recital Society, Vancouver, Canada ...Vancouver audiences have heard a true rising star . -David Gordon Duke, The Vancouver Sun, 04/25/2013 Il Barbiere di Siviglia [] Its 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 Bellinis 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. Sddeutschezeitung March 7, 2012

La Cenerentola As Angelina Rossinis Cenerentola, or Cinderella mezzo Tara Erraught unleashed an array of coloratura fireworks in a role that affords opportunities for vocal pyrotechnics like few others. Non piu mesta where Angelina, the prince by her side, announces that she forgives her cruel step -sisters and step-father is considered one of operas most difficult arias. No problem for Erraught. Her rendition perfectly mirrored Angelinas transition from a servant singing a simple ditty at the fireside to a princess in full embellished voice. -AP, George Jahn, New Production of Rossinis Cinderella a Delight, 01/28/2013 Neue Knigin des Belcanto New Queen of Belcanto -Frankfurter Allgemeine, 31 January 2013 The evening, however, belonged to the young Irish mezzo Tara Erraught as the put upon Angelina. With her accurate, fleet divisions and sweet disposition she won the audiences hearts completely. -Opera (UK) February 2013 Bayerische Staatsoper, I Capuleti e i Montecchi They call it breakthrough when a star is born. And this is exactly what happened in Munichs Nationaltheater. (...) This singer gets straight to the point: what clear and natural interpretation! What astounding sense for nuances and control of phrasing at this young age! And especially in the lyric scenes, in Romeos first entrance or in the death scene, Tara Erraught creates moments of wonder. She shows a sensibility that is key to Bellini and to the hearts of the cheering audience. -Markus Thiel, Mnchner Merkur, 01/29/2011 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 Sortilges 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. -Opera News, July 2011 National Concert Hall Dublin 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 Meyerbeers Les Huguenots, and delighted in fluttering alletically between the extremes of her range in Cinderellas Non pi mesta from Rossinis La Cenerentola. -Irish Times, Michael Dervan, 03/03/2010
PR Contact: Laura Grant, Grant Communications, 978.208.0552; 917.359.7319

Management: IMGA Artists LLC New York City J.F. Mastroianni & Kristin Schuster, Managers 212.994.3500