Press

April 2018: Bard Music West – San Francisco Classical Voice

“Soprano Sara LeMesh welcomed this grim reaper with a warm, gentle delivery of the opening line. Her shadowy dress and matching black lipstick made a striking, somewhat uncanny impression; in a particularly chilling moment, the soprano addressed the audience directly to sing Whitman’s text that death comes “to all, to each.” The movement closed with a second invocation to Death, this time with LeMesh allowing Crumb’s vocal line to droop slowly and delicately, like a browned leaf floating to the ground.”

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 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.”