Sarah Mesko

"...delivered sit-up-and-take-notice vocalism...."

Dallas Morning News



Carmen // Tulsa Opera

" exciting mezzo gifted with a generous tone marked by warmth and richness in its middle and lower parts and a silvery sheen as it climbs upward.  Mesko delivered the goods in her taunting and seductive Habanera and Seguidilla, but most impressive was her effectively stoic take on the tarot-reading scene....  Mesko’s approach was measured and extraordinarily sophisticated."

     - Freddy Dominguez, Opera Wire, October 30, 2019

Album: "Daytime & Night Songs"

"Melodic lines are beautifully shaped here by Mesko ... a fluid vocal line that floats across the music."

     - Steven A. Kennedy, Cinemusical, October 23, 2019

Ottavia // The Coronation of Poppea // Opera Theatre of Saint Louis

"Sarah Mesko's plush, dusky mezzo communicated Ottavia's despair with depth and grace."

     - Joanne Sydney Lessner, Opera News, September 2019

"Sarah Mesko displayed a fine technique and beautiful mezzo-soprano voice as Ottavia, as well as some imperial attitude."

     - Sarah Bryan Miller, St. Louis Post-Dispatch, June 11, 2019

"Sarah Mesko ... thrills with bitterness and vengeance."

     - Steve Callahan, Broadway World, June 11, 2019

"Mesko as Ottavia was no wet dishrag.... Ottavia is outnumbered and outgunned, but Mesko’s performance garnered audience sympathy and support for her Sisyphean efforts to save her marriage, status and self."

     - CB Adams, St. Louis Limelight, June 20, 2019

" Ottavia, Nerone’s repudiated Empress, mezzo Sarah Mesko sang through her teeth in barely repressed fury...."

     - Heidi Waleson, The Wall Street Journal, June 25, 2019

Mercédès // Carmen // Metropolitan Opera

"Sarah Mesko brought a voluptuous mezzo as Mercédès...."

     - Eric C. Simpson, New York Classical Review, October 31, 2018

Ottavia // L'incoronazione di Poppea // Cincinnati Opera

"Sarah Mesko was wonderful as the discarded empress Ottavia.  Her mezzo is rich and powerful, and her two arias were among the high points of the evening."

     - Joe Law, Opera News, September 2018

Ines // Il Trovatore // Metropolitan Opera

"Sarah Mesko made an endearing Ines, warm and tender with her dark-hued mezzo."

     - Eric C. Simpson, New York Classical Review, January 23, 2018

Dejanira // Hercules //
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.... [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, The Register-Guard, ​July 11, 2017

Feature: Sound Bites

"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

Second Woman, Second Witch, Nona // Dido and Aeneas // 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

"...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

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, The 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 // Cato in Utica // Glimmerglass Festival

"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

Prize Winner // The Loren L. Zachary Competition

"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

Prize Winner // 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, fiére cité” 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

Junon // Actéon // Opera Lafayette

"Mezzo-soprano Sarah Mesko had a commanding richness of tone as the spiteful Junon." 

​     - Charles T. Downey, The Washington Post, May 3, 2013

​Hänsel // Hänsel and Gretel // Washington National Opera

“Mesko, padded to reduce the appearance of womanly curves, was an appealing and solid Hansel.”

     - Anne Midgette, The Washington Post, December 23, 2012

Merola Grand Finale // 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 // La finta giardinera // 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