OPERA NEWS
"The soprano projected the character’s anguish, fervency and increasingly fragile emotional state in an urgent, tonally secure and affectingly plangent vocal performance.”
Press
& Features
New opera explores the fraught history of Argentine politics
SAN FRANCISCO CHRONICLE
“Against those formidable adversaries, Isabel barely stands a chance, not even as embodied with vocal fervor and dramatic power by soprano Sara LeMesh.”
"Superb example of vocal acting."
THE ALMANAC
“The bulk of the conflict settles on the shoulders of soprano Sara LeMesh, whose performance of Isabel is a superb example of vocal acting. A particularly powerful scene comes in a trio with Juan and Ministro, both of whom seem relatively untroubled by 30,000 dead people, while Isabel is ripping out her hair at the hell she has unwittingly unleashed.”
Brooklyn Art Song Society
LES SIX | JANUARY 2024
“The final song of the cycle, 'Les trois présents,' to a text by Voltaire, displayed both artists at their best in giving life to one of Tailleferre’s grand melodies, topped off by LeMesh’s luscious high notes."
“LeMesh could give voice to the wistfulness in “La Dame d’André” in the loveliest of tones, as winningly as seduction through vocal warmth and languid phrases in ‘Violin.’”
NEW YORK CLASSICAL REVIEW JANUARY 2024
“LeMesh’s voice sounded divine as she sang song one, ‘Non, la fidélité,’ ‘No Fidelity,’ and especially as she indulged in the phrase, ‘J’ai quitté par légèreté plus d’une beauté, vive la nouveauté,’ ‘Capriciously, I’ve left more than one beautiful woman. Long live novelty!’”
OPERAWIRE | JANUARY 2024
‘Breaking the Waves’ tells dark, operatic tale of faith, degradation
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.
Later, in her disjointed dialogues with God (who talks through Bess in gruff speech rhythms backed by an all-male chorus), LeMesh beautifully captured the stress fractures in the character’s psyche. Most importantly, she conveyed Bess’s eerily saintlike nature, without which the entire dramatic edifice would crumble.”
"Excelled in her coy, seductive manner."
OPERAWIRE
"The young peasant girl, Zerlina, sung by soprano Sara LeMesh, centered the drama with her seduction by the devilish Don capturing the narrative pulse. LeMesh excelled in her coy, seductive manner, as well as in her vocal energy. Her dramatic expression and deft, deliberate movement about the stage combined to give her a bright presence in each scene. In “Vedrai carino,” LeMesh illustrated her acting charm as well as her lyrical and playful sound.”
"The incomparable new music soprano, Sara LeMesh, arrived for a grab-bag of Polish art songs, including a jazzy pop song by Lutoslawski…”
CIVIC CENTER BLOGSPOT
“LeMesh was audacious yet agile, commanding yet sensitive. I would have gladly listened to her voice all night.”
SAN FRANCISCO CLASSICAL VOICE
"She'd be the star of any cast."
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.”
"Piercing yet ethereal."
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.”
“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 jealousy and indignation was palpable.”
THE OPERA TATTLER
“One of those songs, “Sveitaar, sveimen var Kvieoinen: ‘Koorwei, Koorwei’ ” pushed Sara Lemesh’s plush [Soprano] into expressively guttural depths.”
THE NEW YORK TIMES