Dallas Morning News
"Sarah Mesko made an endearing Ines, warm and tender with her dark-hued mezzo."
"The powerhouse mezzo, Sarah Mesko, inhabited this role. Her voice has a rich velvet sheen, and yet still it has the flexibility to roll out the coloratura lines Handel wrote.... [T]he real test of the mezzo’s vocal ability is the “mad scene,” “Where shall I fly” ... [performed] with histrionic and vocal fire."
"Sarah Mesko's voice is warm and vibrant — a true mezzo, without the soprano hue that so many of her peers possess."
"We soon met three women, dressed like laborers, who were, in fact, the three Fates, spinning the thread of life and deliberating Dido's future: the sweet soprano Anna Christy ... the rich mezzo-soprano Sarah Mesko ... and the amazing Ms. Clark ...."
"...Sarah Mesko had a satisfyingly dark, round mezzo in her roles as the Second Woman and the Second Witch."
"Mesko also sports a lovely and flexible instrument, tossing off Rossini’s “Una voce poco fa” ... without any strain and enlivening several ensembles with impish personality."
"The mezzo, Sarah Mesko, is the real thing, with a voice that is dark yet focused. As she later demonstrated, she too has the flexibility to surmount the most challenging virtuoso passage work with ease."
"Mezzo Sarah Mesko, as the vengeful widow Emilia, provoked excitement through the contrast between her smoky lower register and her flashing top."
"Sarah Mesko proved a strong villainess in the role of Emilia, particularly at the close of the Act II aria 'Come invano il mare irato.'"
"Mezzo Sarah Mesko ... offered a moving performance of Didon’s death scene from Les Troyens. Earlier in the week, she had performed the aria at the preliminaries, where I noticed that the judges weren’t scribbling at all; they were just listening."
"The gifted mezzo Sarah Mesko justly won the $10,000 second prize with her impeccably polished Seguidilla from Carmen and La Clemenza di Tito’s 'Deh, per questo.'"
"Mesko delivered sit-up-and-take notice vocalism in “Crude furie degl’orridi abissi” from Handel’s Xerxes and “Adieu, fiere cite” from Berlioz’ Les troyens."
"Mesko gave an excellent rendition of an aria from Handel’s Xerxes. She has a genuine mezzo sound and tossed off the coloratura work with style, using it to express the words rather than mere displays of technical prowess. ... The voice itself is clear and even, from top to bottom (as she demonstrated in a cadenza). Her second selection, an aria from Les Troyens by Berlioz, also displayed a sure technique and polished vocalism."
"Among the supporting cast, second-year apprentice singer Sarah Mesko, an impressive mezzo-soprano, stood out for her plush sound and sassy stage presence."
"Mezzo-soprano Sarah Mesko had a commanding richness of tone as the spiteful Junon."
"Mezzo Sarah Mesko demonstrated lovely musicality and physical ease required for the style of production."
“Mesko, padded to reduce the appearance of womanly curves, was an appealing and solid Hansel.”
“Mesko effectively uses her rich mezzo sound and grounded physicality to portray the recalcitrant, yet sometimes impulsive and greedy Hansel.”
“Both [Emily Albrink and Sarah Mesko] acted and sang remarkably like the young children they were portraying.... Ms. Mesko in particular was adept in her portrayal of that little-boy swagger, but both young singers together almost effortlessly supported this pair of substantial singing roles.”
“[Casey Candebat’s] impassioned Werther to Sarah Mesko’s gorgeously sung Charlotte was one of the truly memorable scenes of the evening.”
“Sarah fooled us longer than most women-in-pants, with her facial hair and attitude, until she started to sing in a rich mezzo.”
“Mezzo-soprano Sarah Mesko sang with flair in the trouser role of Ramiro.”
“Mezzo-soprano Sarah Mesko, the best part of the Young Artist Program performance of Madama Butterfly last year, brought a rich blossom of sound to the prayer scene of Sister Helen in Jake Heggie’s moving Dead Man Walking and a sunny innocence to Merry in William Schuman’s The Mighty Casey.”
- Charles T. Downey, Washington Post, May 21, 2012
“Mezzo-soprano Sarah Mesko had the most consistently beautiful sound as Suzuki, with a particularly robust chest voice.”