Photo by Kristin Hoebermann


Dejanira in Hercules with the Oregon Bach Festival

"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

Second Woman / Second Witch / Nona in Dido and Aeneas with Master Voices

"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

Metropolitan Opera Rising Stars Concert Series

"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

Emilia in Cato in Utica at the Glimmerglass Festival

"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

George London Award Winner in The George London Foundation Vocal Competition

"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

Prize Winner in The Dallas Opera Guild Vocal Competition

"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

Amélie in La Grande-Duchesse de Gérolstein at Santa Fe Opera

"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

Junon in Actéon at Opera Lafayette

"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

​Hänsel in Hänsel and Gretel at Washington National Opera

“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


Merola Grand Finale at San Francisco Opera

“[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

Ramiro in La finta giardinera at the Merola Opera Program

“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

​Domingo-Cafritz YAP American Scenes Program at the Renwick Gallery

​“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

Domingo-Cafritz YAP Performance of Madama Butterfly at Washington National Opera

“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



Sarah Mesko