Photo by Kristin Hoebermann
"Sarah Mesko made an endearing Ines, warm and tender with her dark-hued mezzo."
- Eric C. Simpson, New York Classical Review, January 23, 2018
"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."
- Marilyn Farwell, Register-Guard, July 11, 2017
"Sarah Mesko's voice is warm and vibrant — a true mezzo, without the soprano hue that so many of her peers possess."
- Brian Kellow, Opera News, November 2016
"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 ...."
- Anthony Tommasini, New York Times, April 30, 2016
"...Sarah Mesko had a satisfyingly dark, round mezzo in her roles as the Second Woman and the Second Witch."
- Oussama Zahr, Opera News, August 2016
"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."
- Robert Battey, Washington Post, April 3, 2016
"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."
- Gregory Sullivan Isaacs, Theater Jones Performing Arts News, October 27, 2015
"Mezzo Sarah Mesko, as the vengeful widow Emilia, provoked excitement through the contrast between her smoky lower register and her flashing top."
- Fred Cohn, Opera News, October 2015
"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.'"
- Sacha Evans, Bachtrack, August 2015
"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."
- Brian Kellow, Opera News, May 2015
"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.'"
- Opera News, August 2015
"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."
- Scott Cantrell, Dallas Morning News, April 19, 2015
"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."
- Gregory Sullivan Isaacs, Theater Jones Performing Arts News, April 21, 2015
"Among the supporting cast, second-year apprentice singer Sarah Mesko, an impressive mezzo-soprano, stood out for her plush sound and sassy stage presence."
- Charles T. Downey, The Classical Review, July 31, 2013
"Mezzo-soprano Sarah Mesko had a commanding richness of tone as the spiteful Junon."
- Charles T. Downey, Washington Post, May 3, 2013
"Mezzo Sarah Mesko demonstrated lovely musicality and physical ease required for the style of production."
- Susan Galbraith, DC Theatre Scene, May 6, 2013
“Mesko, padded to reduce the appearance of womanly curves, was an appealing and solid Hansel.”
- Anne Midgette, Washington Post, December 23, 2012
“Mesko effectively uses her rich mezzo sound and grounded physicality to portray the recalcitrant, yet sometimes impulsive and greedy Hansel.”
- Susan Galbraith, DC Theatre Scene, December 23, 2012
“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.”
- Terry Ponick, Washington Times, December 24, 2012
“[Casey Candebat’s] impassioned Werther to Sarah Mesko’s gorgeously sung Charlotte was one of the truly memorable scenes of the evening.”
- Janos Gereben, San Francisco Classical Voice, August 2012
“Sarah fooled us longer than most women-in-pants, with her facial hair and attitude, until she started to sing in a rich mezzo.”
- SFist Reviews, August 2012
“Mezzo-soprano Sarah Mesko sang with flair in the trouser role of Ramiro.”
- Georgia Rowe, San Francisco Classical Voice, August 2012
“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.”
- Charles Downey, Washington Post, March 16, 2011