TARA

ERRAUGHT
mezzo-soprano
213-
214
Season


~Neue Knigin des Belcanto - ~New Queen of Belcanto
-Frankfurter Allgemeine, 31 1anuary 213





~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 213

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1ARA ERRAUCH1, mezzo-soprano

Few emerging artists have captured the attention of the international opera public as the Irish-born mezzo-soprano Tara Erraught. A member oI the
Bayerische Staatsoper, she won widespread acclaim in February 2011, Iirst in the title role oI a new production oI Ravel`s LEnfant et les Sortileges and, in the
same month, jumping in Ior an ailing colleague on Iive-days notice to perIorm Romeo in a new production oI Bellini`s I Capuleti e i Montecchi. The latter
catapulted Ms. Erraught to world-wide acclaim.

Over the past Iew seasons, Ms. Erraught`s international stature has continued to grow, and the 2013-2014 season reaIIirms 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 OIIenbach`s Les Contes dHoffmann
with the Bayerische Staatsoper in Munich, Iollowed by a recital at Nymphenburg Sommer in celebration oI the Iestival`s 10th anniversary. Fall 2013/winter 2014
perIormances include creating the role oI Kitty in the world premiere oI Iain Bell`s A Harlots Progress at Theater an der Wien; and with Bayerische Staatsoper,
she reprises her role as Hnsel in Humperdinck`s Hnsel und Gretel, and as Angelina in Rossini`s La Cenerentola. Also in Munich, Ms. Erraught makes her role
debut as Sesto in Mozart`s La Clemen:a 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 oI Strauss`s Die Frau ohne Schatten and the second set
oI perIormances oI La Clemen:a di Tito. Future perIormances 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.

PerIormance highlights oI 2012-2013 included Ms. Erraught`s debut season, at 26 years oI age, at the Wiener Staatsoper, where she sang Il Barbiere di Siviglia
in the autumn as well as the premiere perIormances oI a new production oI La Cenerentola to great acclaim early in 2013. In Munich, she sang in a new
production oI Hnsel und Gretel as well as her Iirst perIormances oI Die Fledermaus as Prince Orlovsky and oI Les Contes dHoffmann as Nicklausse. In spring
2013, she made a successIul 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 Ior outstanding contribution to the arts. At 26 years oI age, she is only the IiIth musician, and the youngest
recipient, to receive this honor since the annual award`s inception in 2000.

A native oI Dundalk, Ireland, Tara Erraught graduated Irom the Royal Irish Academy oI Music in Dublin and has been a member oI the opera studio at the
Bayerische Staatsoper in Munich since 2008. In summer 2010 she joined internationally celebrated French pianist Jean-Yves Thibaudet Ior the Prinsengracht-
concert telecast Irom the canals oI 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 oI 2010 she was the recipient oI the National Concert Hall's Rising Star Award in Dublin. She has also won the Dermott Troy Award Ior the Best Irish
Singer.

Ms. Erraught considers herselI Iortunate to continue her studies in Dublin with the acclaimed Royal Opera soprano Veronica Dunne, who has been the guiding
Iorce in her musical career. In Munich, where she makes her home, she has the privilege to work with Iamed German mezzo-soprano Brigitta Fassbaender on her
current repertoire. Current May 2013

www.imgartists.com/artists/taraerraught
Facebook.com/pages/tara-Erraught/300712583393259 Check back to Tara`s Iacebook page Ior the launch oI her new website, coming late summer.

Management: IMGA Artists LLC New York City PR Contact: Laura Grant, Grant Communications
J.F. Mastroianni & Kristin Schuster, Managers 978.208.0552; 917.359.7319; Lauragrant-communications.com
Adam Cavagnaro, Managerial Associate
MAY 2013
18, 24, 29 Bayerische Staatsoper Munich, GER
Offenbach, Les Contes dHoffmann
(Nicklausse/The Muse)
Emmanuel Villaume, conductor

JUNE
2, 5, 8 Bayerische Staatsoper Munich, GER
Offenbach, Les Contes dHoffmann
(Nicklausse/The Muse)
Emmanuel Villaume, conductor

20 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" Irom
"Der Dickschdel" Op. 17
Meyerbeer, Nobles seigneur, salut' Irom Les Huguenots
Gounod, Si le bonheur a sourire tinvite Irom Faust
Bellini, Deh' Tu Deh' (Irom I Capuleti e i Montecchi)
Mozart, Parto, Parto Irom La Clemen:a di Tito
Henning Ruhe, pianist

OCTOBER
13, 16, 18, Theater an der Wien Vienna, AUT
21, 24, 27 Bell, A Harlots Progress - World Premiere
(Kitty)
Donald Runnicles, conductor

DECEMBER
21, 29 Bayerische Staatsoper Munich, GER
Humperdinck, Hansel and Gretel (re-engagement)
(Hansel)
Tomas Hanus, conductor


Management: MGA Artists LLC New York City
J.F. Mastroianni & Kristin Schuster, Managers
Adam Cavagnaro, Managerial Associate
212.994.3500
FEBRUARY 2014
10, 12, 15, Bayerische Staatsoper Munich, GER
20, 23, 26 Mozart, La Clemen:a di Tito
(Sesto) Role Debut
Kirill Petrenko, conductor

MARCH
4, 7, 9, 12 Bayerische Staatsoper Munich, GER
Rossini, La Cenerentola
(Angelina)

29 Munich Opera Festival Munich, GER
of the Bavarian State Opera
Strauss, Die Frau ohne Schatten
(Stimmen der Ungeborenen)
Kirill Petrenko, conductor

JULY
1, 5 Munich Opera Festival Munich, GER
of the Bavarian State Opera
Mozart, La Clemen:a di Tito
(Sesto) Role Debut
Kirill Petrenko, conductor


Future Engagements include:

Glyndebourne Festival Opera
BBC Proms
A second North American recital tour






PR Contact: Grant Communications
Laura Grant
978.208.0552; 917.359.7319; Laura@grant-communications.com

1ARA ERRAUCH1, mezzo-soprano
2013-2014 Season (Subject to Change)
La Cenerentola
'As Angelina Rossini`s Cenerentola, or Cinderella mezzo Tara Erraught
unleashed an array oI coloratura Iireworks in a role that aIIords opportunities Ior vocal
pyrotechnics like Iew others. Non piu mesta` where Angelina, the prince by her
side, announces that she Iorgives her cruel step-sisters and step-Iather is considered
one oI opera`s most diIIicult arias. No problem Ior Erraught. Her rendition perIectly
mirrored Angelina`s transition Irom a servant singing a simple ditty at the Iireside to a
princess in Iull embellished voice.
-AP, Ceorge 1ahn, "Aew Production of Rossini's Cinderella a Delight",
1/28/213

'Neue Knigin des Belcanto 'New Queen oI Belcanto
-Frankfurter Allgemeine, 31 1anuary 213

'The evening, however, belonged to the young Irish mezzo Tara Erraught as the put-
upon Angelina. With her accurate, Ileet divisions and sweet disposition she won the
audience`s hearts completely. -Opera (UK) February 213

Bayerische Staatsoper, I Capuleti e i Montecchi
'They call it breakthrough` when a star is born. And this is exactly what happened in
Munich`s Nationaltheater. (...) This singer gets straight to the point: what clear and
natural interpretation! What astounding sense Ior nuances and control oI phrasing at
this young age! And especially in the lyric scenes, in Romeo`s Iirst entrance or in the
death scene, Tara Erraught creates moments oI wonder. She shows a sensibility that is
key to Bellini and to the hearts oI the cheering audience.
-Markus 1hiel, Mnchner Merkur, 1/29/211

'The production was to have Ieatured the Romeo oI Vesselina Kasarova, who
canceled due to illness several days beIore the premiere. The Bavarian State Opera
was compelled to dig into its own ensemble. Showing its Iaith in talented young Irish
mezzo Tara Erraught recently heard in Munich to great advantage as the Child in
Ravel's LEnfant et les Sortileges the company literally thrust her into the limelight.
Learning the role in several days, Erraught took advantage oI her opportunity, making
a quantum leap into the major leagues. Her bright, highly placed voice is evenly pro-
duced, Iull oI color and void oI artiIiciality. She was also able to decorate her vocal
lines with consummate taste, and she acted with conviction and enthusiasm.
-Opera Aews, 1uly 211

National Concert Hall Dublin
'Erraught is one oI those singers who take a real delight in negotiating the obstacle
courses oI virtuosic arias. She sounded Iully at home in the brilliant greeting oI
'Nobles seigneurs, salut!Irom Meyerbeer`s Les Huguenots, and delighted in Iluttering
alletically between the extremes oI her range in Cinderella`s 'Non piu mesta Irom
Rossini`s La Cenerentola. -Irish 1imes, Michael Dervan, 3/3/21

PR Contact: Laura Grant, Grant Communications, 978.208.0552; 917.359.7319

North American Debut Recital Tour, April 2013
Harriman-1ewell 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 Iireworks
came at the end in Handel`s aria 'Dopo notte Irom his 1735 opera Ariodante
...The Handel`s Iearless, impeccable perIormance deserved its standing ovation and
chorus oI Bravos! Irom the audience, as did the Rossini.
-1ohn Heuertz, 1he Kansas City Star, 4/13/213

'. In a series oI gypsy songs by Johannes Brahms, she was the master oI all
dynamics, Irom the Iiercely declamatory to light and almost impressionistic
phrases. -Don Dagenais, KCMetropolis.org, 4/1/213

Green Music Center, Sonoma, California
'The Iirst halI ended with Brahms` 'Gypsy Songs. Op 103. .sung by Ms.
Erraught with brilliance oI tone, vibrant shimmering high notes, and exciting
dynamic contrasts. . .'Una voce poco Ia Irom Rossini`s Barbiere di Siviglia is
sometimes considered a warhorse,` but it`s always an aria where a singer can prove
her bonaIides and bid to be added to the list oI greats who have gone beIore. There`s
no doubt, Tara Erraught is Iast. Furiously Iast. Think Cecilia Bartoli-Iast. At that
point, the audience was more than ready to express their appreciation with a
standing ovation, which earned them the pleasure oI two encores.
-Jaida Falconbridge, Classical Sonoma, 4/21/213

Chan Centre, Vancouver Recital Society, Vancouver, Canada
'...Vancouver audiences have heard a true rising star ..
-David Cordon Duke, 1he Jancouver Sun, 4/25/213
Il Barbiere di Siviglia
'|.| It`s a sensation to see the 25 year-old Tara Erraught perIorm in Barbiere di
Siviglia at the Bavarian State Opera: with her Iresh joy Ior acting she gives the role
oI Rosina all the innocence and erotic shimmer which is part oI the stereotype oI the
'shrewd girl. One oI the great stereotypes oI the opera business proved true Ior the
young Irish singer herselI last year: within Iive days she jumped in Ior an ailing
Vesselina Kasarova at the premiere oI Bellini`s I Capuleti e i Montecchi. Ever since,
she is high demand Ior 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 Irom her vocal qualities: she carves out and subtly phrases the voluptuous
coloraturas with a bell-like clear soprano with mezzo tendencies.
Sddeutschezeitung March 7, 212


Management: MGA Artists LLC New York City
J.F. Mastroianni & Kristin Schuster, Managers
212.994.3500
Tara Erraught, mezzo-soprano - Selected Press Acclaim