Dallas Morning News
"...an 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."
"Melodic lines are beautifully shaped here by Mesko ... a fluid vocal line that floats across the music."
"Sarah Mesko's plush, dusky mezzo communicated Ottavia's despair with depth and grace."
"Sarah Mesko displayed a fine technique and beautiful mezzo-soprano voice as Ottavia, as well as some imperial attitude."
"Sarah Mesko ... thrills with bitterness and vengeance."
"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."
"...as Ottavia, Nerone’s repudiated Empress, mezzo Sarah Mesko sang through her teeth in barely repressed fury...."
"Sarah Mesko brought a voluptuous mezzo as Mercédès...."
"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."
"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.... [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.'"
"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, fiére cité” 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."
"Mezzo-soprano Sarah Mesko had a commanding richness of tone as the spiteful Junon."
“Mesko, padded to reduce the appearance of womanly curves, was an appealing and solid Hansel.”
“[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.”