SF Civic Center Blog

“As a friend put it, LeMesh is a singing machine, and she offered one of the most impressive, virtuosic operatic performances I have ever seen, vocally and histrionically.”

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Sara LeMesh
OperaChaser

“As Bess, Sara LeMesh gives it her all in a role that demands extensive stage time, convincing physical application and vocal dexterity. The results LeMesh achieves are beyond measure as she takes Bess emotionally close to her audience with her cowering juvenile behaviour, her seeming delusional state, affections for Jan and her leggy prostituting poses, baring everything from vulnerability to strength with absolute conviction of heart and mind. With LeMesh comes a strikingly expressive soprano of feathery beauty and penetrating effect that matches her character convincingly.”

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Sara LeMesh
San Francisco Classical Voice

“The performances shine, led by LeMesh’s extraordinary realization of Bess. Over two hours and 45 minutes, most of which she spends onstage, the soprano creates a character of fearless musical and dramatic complexity. Her Bess is a woman of passion and self-doubt, flaws, and aspirations. Her singing soars and swoons. She speaks some of her dialogue, hears voices, and answers them back. She is clear-eyed and confused and lasered-in on the truth of every moment.”

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Sara LeMesh
The Opera Tattler

“Soprano Sara LeMesh has a piercing yet ethereal sound that works well for the girlish Bess. This character is central to the piece, and LeMesh is sympathetic.”

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Sara LeMesh
San Francisco Chronicle

“Breaking the Waves turns on the portrayal of Bess, and soprano Sara LeMesh illuminates every turn of her character with a powerhouse performance of vocal majesty and expressive translucency. The prologue, “His name is Jan,” with its ebullient vocal leaps and trembling anticipation, serves simultaneously to introduce the outsider to the community and to establish Bess’s sudden awakening to love.” - Joshua Kosman

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Sara LeMesh
San Francisco Classical Voice

“Soprano Sara LeMesh welcomed this grim reaper with a warm, gentle delivery of the opening line. Her shadowy dress and matching black lipstick made a striking, somewhat uncanny impression; in a particularly chilling moment, the soprano addressed the audience directly to sing Whitman’s text that death comes “to all, to each.” The movement closed with a second invocation to Death, this time with LeMesh allowing Crumb’s vocal line to droop slowly and delicately, like a browned leaf floating to the ground.”

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Sara LeMesh
San Francisco Classical Voice

“She was outstanding: her theatrical timing, tone, and technical control, especially in the highest register, made the music lucid. If this performance is representative, she’d be the star of any cast.”

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Sara LeMesh
The Opera Tattler

“[Soprano] Sara LeMesh was also particularly vivid in her portrayal of Juno. One did not have to understand the exact words she was singing to know how she felt, the jealously and indignation was palpable.”

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Sara LeMesh
The New York Times

“One of those songs, “Sveitaar, sveimen var Kvieoinen: ‘Koorwei, Koorwei’ ” pushed Sara Lemesh’s plush [Soprano] into expressively guttural depths.”

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Sara LeMesh