Press

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March 2017: Bard Music West – San Francisco Classical Voice

“She was outstanding: her theatrical timing, tone, and technical control, especially in the highest register, made the music lucid. If this performance is representative, she’d be the star of any cast.”

August 2015: American Bach Soloists Academy – San Francisco Chronicle

“Other standouts in the large cast included baritone Corbin Phillips as Sémélé’s father, Cadmus, and [soprano] Sara LeMesh as Juno…”

August 2015: American Bach Soloists Academy – San Francisco Classical Voice

“[Soprano] Sara LeMesh impressively portrayed the vengeful Juno (Jupiter’s wife in disguise) during her attempts to manipulate Sémélé.”

August 2015: The Opera Tattler – ABS Performs Sémélé

“[Soprano] Sara LeMesh was also particularly vivid in her portrayal of Juno. One did not have to understand the exact words she was singing to know how she felt, the jealously and indignation was palpable.”

August 2015: The Berkeley Daily Planet – A Sumptuous French Opera: Marin Marais’ SÉMÉLÉ

“Juno is ably sung by [Soprano] Sara LeMesh.”

August 2015: The Examiner reviews American Bach Soloists Marathon

“…those who knew the music were definitely not disappointed, not only by the rapturous close harmonies of Grace Srinivasan (soprano) and Sara LeMesh…but also by the deft cello accompaniment of Frédéric Rosselet.”

August 2014 Denève, the TMC Orchestra, and Berlioz

“So diaphanous was the orchestral environment for each of the songs, the young voices could merely whisper and be heard. “Au Cimitière” in particular benefitted from this. Sara Lemesh said the words as much as she spoke them.”

July 2013: The LA Times reviews Stravinsky’s Pulcinella – Matthias Pintscher

“The ballet also has vocal movements; and [Soprano] Sara Lemesh, tenor Mingjie Lei and bass-baritone Keith Colclough sang with earnest expression but were not showy.”

February 2013: New York Times reviews Bard College Singers at Morgan Library

“One of those songs, “Sveitaar, sveimen var Kvieoinen: ‘Koorwei, Koorwei’ ” pushed Sara Lemesh’s plush [Soprano] into expressively guttural depths.”