Press

July 21, 2024

Rising young soprano Sara LeMesh is a versatile artist who thrives on singing in a variety of genres, such as opera, art song, and chamber music. An advocate of contemporary music and explorer of neglected works, she has performed in concerts, operas, and recitals at prestigious venues throughout the United States and Europe. She tells us about her non-traditional path to developing her blossoming career.

June 12, 2024

Ms. LeMesh recently appeared on the podcast "People Jew Wanna Know." Hosted by Margarita Lyadova, she interviews today's coolest Jews and revisits pivotal stories of historical figures that have shaped Jewish culture as we know it.

June 2, 2024

As Marie, the foundling adopted by a regiment of French soldiers, soprano Sara LeMesh delivered virtuoso coloratura lines with absolute brilliance, as well as tender ones that made one sigh.

May 11, 2024

The enchanting soprano Sara LeMesh sang with gleaming youthful tone. LeMesh was particularly impressive tossing off roulades and trills after her Narcissa was restored to life.

February 22, 2024

The bulk of the conflict settles on the shoulders of soprano Sara LeMesh, whose performance of Isabel is a superb example of vocal acting. A particularly powerful scene comes in a trio with Juan and Ministro, both of whom seem relatively untroubled by 30,000 dead people, while Isabel is ripping out her hair at the hell she has unwittingly unleashed.

February 19, 2024

Against those formidable adversaries, Isabel barely stands a chance, not even as embodied with vocal fervor and dramatic power by soprano Sara LeMesh.

February 17, 2024

She particularly shines in the second act as she powerfully punctuates with deeply throated soprano a confrontation with the memories/ghosts of both the Ministro and of her husband, Juan Perón (the richly sonorous bass, Casey Germain). As she comes to terms with her own failures and her own, daily guilt for all those thousands disappeared and lost, she reminds both the ghosts in front of her of their own declines and demises with a voice now stronger than at any time prior in the evening. Her final despair over her own failures is a chilling half-scream, half-cry-of-agony that echoes that of the victims themselves. Much credit goes to Sara LeMesh for a memorable, truly plaintive performance.

February 17, 2024

Soprano Sara LeMesh adeptly captures Isabel's inner conflict and sings her anguish with strident conviction without losing her eloquent vibrato.

January 11, 2024

Sara LeMesh singing Poulenc’s “Fiançailles pour rire” was absolutely breathtaking. Her vocal dynamism and sonorous timbre filled the hall with an aura of sound.

January 6, 2024

LeMesh could give voice to the wistfulness in “La Dame d’André” in the loveliest of tones, as winningly as seduction through vocal warmth and languid phrases in ‘Violin.'

August 15, 2023

Op. 3c, enjoyed the brilliance of soprano Le Mesh complemented by the subtlety of violinist Claire Bourg, again with Brown. This was a most inviting performance.

August 15, 2023

Op. 3c, enjoyed the brilliance of soprano LeMesh complemented by the subtlety of violinist Claire Bourg, again with Brown. This was a most inviting performance.

April 5, 2020

Soprano Sara LaMesh, who made such an impression last summer in Missy Mazzoli's Breaking the Waves at West Edge Opera, sang the peasant girl Zerlina. The famous duet where she is seduced on her wedding day was beautiful to hear and sexy as hell.

March 8, 2020

The young peasant girl, Zerlina, sung by soprano Sara LeMesh, centered the drama with her seduction by the devilish Don capturing the narrative pulse. LeMesh excelled in her coy, seductive manner, as well as in her vocal energy. Her dramatic expression and deft, deliberate movement about the stage combined to give her a bright presence in each scene.

December 30, 2019

LeMesh's tour de force performance validated growing critical awareness of her impressive talent.

October 30, 2019

The incomparable new music soprano, Sara LeMesh, arrived for a grab-bag of Polish art songs, including a jazzy pop song by Lutoslawski of all people

October 24, 2019

... Soprano Sara LeMesh, fresh from her triumph in the starring role of West Edge Opera's production of Missy Mazzoli and Royce Vavrek's "Breaking the Waves" ... affirmed her incredible range with a bluesy cabaret number, "I'm Not Expecting Anybody" by Witold Lutoslawski.

August 18, 2019

As a friend put it, LeMesh is a singing machine, and she offered one of the most impressive, virtuosic operatic performances I have ever seen, vocally and histrionically.

August 17, 2019

As Bess, Sara LeMesh gives it her all in a role that demands extensive stage time, convincing physical application and vocal dexterity. The results LeMesh achieves are beyond measure as she takes Bess emotionally close to her audience with her cowering juvenile behaviour, her seeming delusional state, affections for Jan and her leggy prostituting poses, baring everything from vulnerability to strength with absolute conviction of heart and mind. With LeMesh comes a strikingly expressive soprano of feathery beauty and penetrating effect that matches her character convincingly.

August 12, 2019

The performances shine, led by LeMesh’s extraordinary realization of Bess. Over two hours and 45 minutes, most of which she spends onstage, the soprano creates a character of fearless musical and dramatic complexity. Her Bess is a woman of passion and self-doubt, flaws, and aspirations. Her singing soars and swoons...

August 11, 2019

... soprano Sara LeMesh... has a piercing yet ethereal sound that works well for the girlish Bess. This character is central to the piece, and LeMesh is sympathetic.

August 11, 2019

“Breaking the Waves” turns on the portrayal of Bess, and soprano Sara LeMesh illuminates every turn of her character with a powerhouse performance of vocal majesty and expressive translucency.

April 10, 2018

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 21, 2017

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 14, 2015

... 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.

February 22, 2013

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

LeMesh was audacious yet agile, commanding yet sensitive. I would have gladly listened to her voice all night.

As Lucy, soprano Sara LeMesh seemingly channeled teresa Stratas- what better model in Weill?