Sarah Tynan

Hanna Glawari in The Merry Widow / English National Opera

cond. Kristiina Poska, dir. Max Webster


“But the evening belongs to Sarah Tynan, whose beautifully sung Hanna is the perfect balance of brassy confidence and vulnerability.”

FT, March 2019


“That it works is largely due to Tynan and Gunn, who are entirely credible, and at times extremely touching, as exes trying to escape the mess of the past and find a future together. He’s very attractive, if world-weary. She’s knowing, affectionate, sings with great elegance, and is well up to the considerable theatrical demands that Webster places on her.”

Guardian, March 2019


“a lovely performance by Sarah Tynan in the title-role. The one character who isn’t costumed circa 1910, she presents instead a 1940s blonde bombshell, suggesting just the right edge of gold-digger cynicism and peasant shrewdness. But not too sharp an edge: her singing touches a fine note of melancholy in "Vilja" and "Lippen schweigen", both beautifully phrased and enunciated.”

Telegraph, March 2019


“the first and principal prerequisite for a successful  Merry Widow is glamour and allure in the title role, and Sarah Tynan provided the necessary flirtatious fascination demanded of her, alongside comic nous and some impressive dance skills. She also provided a much-needed moment of respite from the frantic antics, bravely perching upon a floating crescent moon to sing her ‘Vilja’ and out-gleaming its beams with silvery threads which ebbed and waned with exquisite care and control, and with bitter-sweet beauty.”

Opera Today, March 2019


“But love will out, and Danilo has met his match in Sarah Tynan's determined, unconventional and independent Hanna, another tour de force by this amazing soprano who only a few months ago held us spellbound in the title role of Lucia di Lammermoor. There can hardly be two more different roles in the opera repertoire, and it is a measure of Tynan's musicianship and attractive stage presence that she is perfect in both. Singing high up on a crescent moon, crawling under tables, high-kicking with the best, she is every inch the musical star.”

Culture Whisper, March 2019



Lucia in Lucia di Lammermoor / English National Opera

cond. Stuart Stratford, dir. David Alden


“It’s left to Tynan, though, to give the show its moments of grace and delicacy. Singing her first Lucia, she deploys a light, silky tone with beautiful flexibility, and there’s an ethereal transcendence about the way she delivers the mad scene, vocally and visually. In a show that often teeters on the brink of gothic-horror parody, hers is a performance to touch the heart.”

The Times, October 2018


“Tackling the title role for the first time, Tynan sings with a silvery purity of tone and an exquisite sense of line. Her coloratura is admirably liquid, yet always placed at the service of the drama. She can be thrillingly accurate in her upper registers, though in the Mad Scene she replaces the traditional showpiece cadenza with something altogether more thoughtful and darkly expressive.”

Guardian, October 2018


“The two principals are outstanding... and Sarah Tynan, currently ENO’s one authentic homegrown star, makes a heartrendingly fragile and vulnerable Lucia, bringing exquisite poise and sensitivity to 'Ardon gl’incensi'.”

Telegraph, October 2018


“Sarah Tynan and Eleazar Rodriguez demonstrate why they are firm house favourites with knock-’em-dead performances as the doomed lovers in Sir Walter Scott’s melodrama. Both their voices ring forth with bel canto beauty. Tynan’s instrument may not be huge but it is nonetheless thrilling, thanks to her impeccable intonation and an effortless tessitura that she deploys with an actor’s intensity. And while the sound may not open out at big climaxes in the manner of an imperious diva, her timbre is a disturbing fit with the psychological turmoil churning inside this browbeaten character”

Bachtrack, October 2018


“Sarah Tynan, making her role debut in the title role, was in a class of her own. Her light soprano conjured a delicate Lucia, fey and vulnerable; her voice stayed relaxed even as it climbed and her coloratura - she omitted the cadenza in the mad scene - was not decorative but truly expressive of Lucia’s battered and suffering soul - beautifully phrased, controlled, spacious, the dreamy wistfulness enhanced by the glass harmonica”

Opera Today, October 2018



Rosina in The Barber of Seville / English National Opera

cond. Hilary Griffiths, dir. Jonathan Miller


“Soprano Sarah Tynan’s first outing as Rosina was equally a success, her silky, sunny toned voice captivating rather than dominating the stage.”

Bachtrack, four stars, October 2017


“The cast features some welcome fresh blood including former ENO Harewood soprano Sarah Tynan who takes on the role of Rosina with relish. Her rave reviews in the title role in Partenope earlier this year set very high expectations. Indeed, she gives a lively and very pure coloratura to the role and has a bright and colourful interpretation of the role, with a great mix of the coquettish and the suitably spiky.”

Broadway World, five stars, October 2017


“the central trio play off each other brilliantly. Soprano Sarah Tynan is a Rosina with very sharp claws, whose impeccable coloratura gloriously fills the large auditorium.”

Independent, five stars, October 2017


“ENO regular Sarah Tynan scores a personal triumph with her first Rosina... the coloratura realised with impressive skill and confidence.”

The Stage, four stars, October 2017


“In particular the addition of Sarah Tynan as the classiest Rosina in town is a cause for cheers. Even if you prefer a mezzo in the role (and I'm 50-50 on that point), the English soprano's radiance and comic timing are as immaculate as her mastery of Rossini's cascading runs and her shining top notes.”

What's on Stage, four stars, October 2017



Fiorilla in Rossini Il turco in Italia / Garsington Opera

cond. David Parry, dir. Martin Duncan


“a sparkling central performance from Sarah Tynan as Fiorilla”

Times, four stars, June 2017


“Sarah Tynan brought real vocal fireworks to the role of Fiorilla and her account of Fiorilla's final aria, when she thinks she is being divorced by Geronio, managed to combine bravura singing with the right degree of pathos.”

Opera Today, June 2017


“Sarah Tynan sounds utterly ravishing as Fiorilla.... It’s as close to perfection in a Rossini comedy as you could wish for. A world-class achievement.”

The Stage, five stars, June 2017



Title role in Handel Partenope / English National Opera

cond. Christian Curnyn, dir. Christopher Alden


“In the title role, Sarah Tynan is a queen bee with Nancy Cunard looks, Marlene Dietrich poses as she flaunts her pins on a handy chair and a voice gliding over the high coloratura like a butterfly over a flowerbed.”

The Times, four stars, March 2017


“Tynan might be thought slightly 'soubrettish' for Partenope, but her bright, focused tone projects easily into the huge auditorium and she beguiled the audience's ears as much as she did her onstage lovers with teasing songs: the wonderful Act 2 'Farfaletta' aria proved especially memorable, so much so that one hopes she gets a chance to sing Cleopatra in Julius Caesar at the Coliseum.”

Opera, May 2017


“Looking every bit the queen bee in her sharp, cool costumes, Sarah Tynan sings Partenope in a soprano that is lightweight but incisive, and shapes her phrases beautifully”

Guardian, four stars, March 2017


“The most dazzling contribution comes from Sarah Tynan as Partenope. The divine soprano—an English Natalie Dessay who sings as she moves, with fearless physicality and agile grace—gives a three-hour masterclass in sashaying. Dressed by Jon Morrell in flowing gowns that waft her angelically, and at one point a Blue Angel trouser suit, Tynan animates the stage with a self-aware beauty that's an entertainment in itself. And her vocal fireworks light up the night.”

What’s On Stage, March 2017


“In the title role, Sarah Tynan is deliciously tart, sustaining shining tone and crystal diction through eight taxing arias, notably the beautiful Act 2 ‘Voglio amare’”

Telegraph, four stars, March 2017


“In the title role Sarah Tynan captures the sophisticated society hostess to a tee and sings Partenope’s series of beautiful arias with perfect, cutglass elegance.”

Financial Times, March 2017


“Sarah Tynan was a spectacularly stylish Partenope singing with crystalline fluency and rightly the centre of attention, inhabiting the role both musically and physically.”

Planet Hugill, March 2017


“Sarah Tynan is consummate, and ravishing to behold in her outeract 1920s couture”

Arts Desk, March 2017



Haydn The Creation / Garsington Opera

cond. Douglas Boyd


“A trio of top soloists – soprano Sarah Tynan, tenor James Gilchrist, bass-baritone Neal Davies – relished each aural detail”

Observer, July 2016


“Soprano Sarah Tynan has bright energy, sliding into sensuousness for Eve’s scenes”

Independent, July 2016


“The text was eloquently sung and clearly articulated, with purposeful expression, by Neal Davies (bass-baritone, representing both Adam and the archangel, Raphael), James Gilchrist (tenor, as archangel Uriel) and the elegant soprano, Sarah Tynan, asboth Gabriel and Eve.”

Bachtrack, July 2016



Britten Les Illuminations / Aldeburgh Festival

cond. Nicholas Collon


“Tynan’s extraordinarily intrepid performance surely crosses into realms where no opera singer has gone before.”

Times, June 2016


“Sarah Tynan maintained a superb poise and lovely tone, whilst being scarcely less acrobatic than the acrobats.”

Telegraph, June 2016


“Tynan was also excellent, delivering Britten’s settings with great incisiveness and carrying off with panache what the staging required of her, which included being lifted aloft herself at the end.”

Guardian, June 2016


“But, for all that, it was hard to tear one’s eyes from Tynan, who fearlessly attacked her role. And it says a lot that, throughout her physical exertions, her voice retained its jewel-like brilliance.”

Financial Times, June 2016


“Tynan "awoke" at Les Illuminations' heraldic fanfares, filling the hall with a burning luminescence to relate her dreams.”

Arts Desk, June 2016


“Then there's Sarah Tynan's 25 minutes of pure-toned perfection in the cycle – the best account of Les Illuminations I've heard since Felicity Lott (although she, as I recall, remained earthbound). Tynan sings in impeccable French, can waft a gown and sing up a storm, and her physical derring-do is above and beyond the call of duty. What a performance.”

What's on Stage, June 2016


“Sarah Tynan’s combination of clean, vibrant tone and her willingness to end Les Illuminations perched within a stratospheric hoop is breathtaking. With evocations of night-time and dreams elsewhere in Britten’s works, this treatment is surely one of which he would have approved.”

The Stage, June 2016


“Tynan’s voice of course is astonishing: pure violent vigour, breathtaking sweetness, goddess authority.”

TheatreCat, June 2016



Ännchen in Der Freischütz / Orchestra of the Age of the Enlightenment

cond. Sir Mark Elder


“Sarah Tynan delivered a pert, intelligent Annchen.”

The Times, June 2016


“Sarah Tynan, in the soubrette role of Ännchen, was an excellent foil for her cousin Agathe, with delightful touches of coquetry in her Act II arietta and comic resource in her Act III aria.”

Bachtrack, June 2016


“An impressive Ännchen, though, from Sarah Tynan, who gave an unfussy and elegant account”

Arts Desk, June 2016



Ginevra in Ariodante / Scottish Opera

cond. Nicholas Kraemer, dir. Harry Fehr


“Sarah Tynan’s Ginevra is dignified and ardent, her voice luminous and agile.”

Guardian, February 2016


“Tynan navigates Ginevra’s mad scene with pathos and intelligence, dancing as stylishly as she sings”

The Times, February 2016


“Certainly, the solo parts are well sung, with Sarah Tynan as a diamantine Ginevra...”

The Sunday Times, March 2016


“Sarah Tynan’s Ginevra is delicate bordering appropriately on fragile”

The Scotsman, February 2016


“There are fine performances throughout, however, not least Hulcup’s anguished Ariodante, Sarah Tynan’s distraught-yet-indignant Ginevra... their singing sits beautifully alongside the sumptuousness of Handel’s score.”

The Telegraph, February 2016


“Sarah Tynan’s Ginevra (her first) married sincerity of demeanour and sweetness of vocal address—this is a role in which Tynan deserves to go far.”

Opera, April 2016



Tippet A Child of Our Time / BBC Symphony Orchestra

cond. Edward Gardner


“...and Sarah Tynan was the splendid soprano. The moment when, beneath her glorious pained descant at the end of Part 1, the chorus stole in with “Steal away” wasn’t just magical. It was overwhelming.”

Sunday Times, December 2015


“Sarah Tynan caught the ear with a gleaming top register and heartfelt singing (she was radiant

in 'Steal away')”

Classical Source, December 2015


“The Tippett blazed with righteous fury....The soloists Sarah Tynan, Alice Coote, Robert Murray and Brindley Sherratt sang with passion and authority.”

Times, December 2015


“Soprano Sarah Tynan used her penetrating and crystalline voice as a persuasive dramatic and expressive instrument... Tynan spun a wonderful pianissimo which then soared and bloomed entrancingly about the choral injunctions to ‘Steal away to Jesus’; in her Act 2 duet Scena with tenor Robert Murray, ‘Oh my son!...’ the soprano’s rich timbre was replete with emotion.”

Opera Today, December 2015


“[Gardner] had at his disposal a crack team of soloists: Alice Coote, Robert Murray, Brindley Sherratt and the soprano Sarah Tynan, who sailed ravishingly above the choral swell.”

Standard, December 2015



Merab in Saul / Glyndebourne on Tour

cond. Laurence Cummings, dir. Barrie Kosky


“Sarah Tynan and Anna Devin combined convincingly as bad and good sister Merab and Michal, both with flexibility and considerable tonal beauty.”

Opera, December 2015


“Her older sister Merab was given all the required hauteur by Sarah Tynan… as always, she sang with truly Handelian style.”

Music OMH, October 2015


“Choosing one image from a production so heavy with impactful imagery is a fool’s game... From Ainslie’s suppleness of tone to Devin’s unguarded brilliance, Tynan’s bitter elegance, Hulett’s shapely and candid 'O filial piety... No, cruel father, no!' and the panting, unguarded Glyndebourne chorus, it’s a triumph.”

Times, October 2015


“Anna Devin and Sarah Tynan give searching accounts of Saul's daughters Michal and Merab: each sister inflects Handel's arias with hues that both define her character and give her a hinterland, yet neither soprano compromises her accustomed beauty of tone.”

What's on Stage, October 2015



Haydn Creation / Handel & Haydn Society (Coro CD)

cond. Harry Christophers


“Three stylish British soloists (Sarah Tynan, Jeremy Ovenden, Matthew Brook) make a strong case for a performance sung in English.”

Sunday Times, September 2015


“Sarah Tynan, though occasionally gusty in coloratura, sings with bright, smiling tone and a sense of eager enjoyment in both ‘With verdure clad’ and her avian aria. She also makes a sensuous Eve.”

Gramophone, December 2015



Haydn The Creation / London Symphony Orchestra

cond. Edward Gardner / St Paul's Cathedral


“...Sarah Tynan shone in the soprano solos”

The Telegraph, June 2015


“Soprano Sarah Tynan sang with a wonderful purity that aided the intelligibility of the text... The entire performance felt special.”

Bachtrack, June 2015



Haydn The Creation / Handel and Haydn Society, Boston

cond. Harry Christopers


“Bass Matthew Brook sang with clarion strength throughout his range and keen sense of personality. Soprano Sarah Tynan's voice wedded power and flexibility. Their limpid, heartfelt duet as Adam and Eve in the final scene was a highlight of the evening”

Boston Globe, May 2015



Hari in Dai Fujikura's Solaris / Theatre des Champs-Elysee

cond. Erik Nielsen, dir. Saburo Teshigawara


“The beautiful crystalline singing of Sarah Tynan expresses the iconic beauty and fragility of Hari, but is processed by the computer to give her performance an edginess that conveys the elusive nature of what is essentially a hologram with a mind of its own.”

Opera Britannia, March 2015


“There is, happily, strong singing from the static, stoic cast, led by Sarah Tynan as Hari and Leigh Melrose as Kelvin, but what a waste of their acting skills.”

Financial Times, March 2015


“One thinks of the vocal performances of the highest order, with the intensity of Leigh Melrose and Tom Randle, but especially to the beautiful voice of Sarah Tynan, a rare ray of light in a very disturbing universe.”

Le Figaro, March 2015


“ soprano Sarah Tynan est une revelation a la voix rayonnante et tres flexible.”

“...soprano Sarah Tynan is a revelation thanks to her radiant and very flexible voice.”

ResMusica, March 2015


“...meritent que des eloges tout comme les cinq chanteurs dont la soprano Sarah Tynan, insaisissable Hari.”

“...the five singers deserve praise including soprano Sarah Tynan, the elusive Hari."

Les Echos, March 2015



Orff Carmina Burana / Cincinnati Symphony Orchestra

cond. Louis Langree


“Soprano Sarah Tynan was a real find, as she possesses a sumptuous, lyrical voice able to leap into the stratosphere with enormous beauty. Her final cadenza was breath taking”

Janelle Gelfand,, January 2015


“Carmina Burana drew a full-house and listeners were not disappointed... Highlights - too numerous to mention - would include the following:... the sweet-voiced Children's Choir and soprano Tynan in "Amor volat undique" ("Love flies everywhere")... Soprano Tynan in the tender "In trutina") ("On the scales") where a maiden ponders surrendering her virginity, and in "Dulcissime" ("Sweetest boy") where she does, with a high intervallic leap.”

Mary Ellyn Hutton, Music in Cincinnati, January 2015



Romilda in Xerxes / English National Opera

cond. Michael Hofstetter


“Sarah Tynan's Romilda was the delightfully subtle foil... purity of voice and texture... Tynan's sweet projection... was defined, refined and subtle, she milked her music for as many laughs and sighs and I sat back and marvelled at her control. Her cheeky flirting measured just right and she lit up the stage each time she stepped on it.”

Eric Page, GScene, September 2014


“Sarah Tynan and Rhian Lois are irresistible as the competitive sisters”

Clare Colvin, Daily Express, September 2014


“...captivating and profoundly poised was Sarah Tynan as Romilda... superb depth... Tynan’s Handel singing is still crystalline and clear, with a lovely sense of style... Tynan didn’t just sing superbly, but brought a real depth to the bleaker moments... Tynan made us believe it, whilst sounding superbly beautiful.”

Robert Hugill, Opera Today, September 2014


“Sarah Tynan... is a gorgeous Romilda with a world-class voice and a stage presence that's a match for anyone.”

Mark Valencia, What’s on Stage, September 2014


“Sarah Tynan... singing with triumphant brightness and apparently limitless flexibility.”

Edward Bhesania, The Stage, September 2014


“Sarah Tynan's haughty but high-spirited Romilda, whose gorgeous voice makes up in purity of tone what it lacks in raw power”

Guy Dammann, Guardian, September 2014


“Tynan finds the spark of personality that transforms a classic sisterly dispute into a Wildean comedy of manners, aided by Rhian Lois's perfectly pitched Atalanta.”

Alexandra Coghlan, The Arts Desk, September 2014


“Sarah Tynan's soubrette soprano has expanded into a lovely lyric instrument”

Rupert Christiansen, Daily Telegraph, September 2014


“As Romilda, Sarah Tynan's journey from carefree girl to rejected wretch and thus to wiser and more profoundly happy woman is made beautifully apparent in touching acting and radiant singing. Her peripatetic lovers'-tiff duet with Andrew Watts's Arsamenes is the funniest moment in a four-hour show.”

Richard Morrison, Times, September 2014


“Sopranos Sarah Tynan and Rhian Lois are by turns bewitching and irresistibly comic as the warring sisters Romilda and Atalanta”

Michael Church, Independent, five stars, September 2014



Mahler Symphony No.8 / Royal Scottish National Orchestra


“Llewellyn and Tynan made their mark - the latter very briefly as the seraphic Mater Gloriosa”

Neil Fisher, Times, June 2014



Roggiero in Tancredi / Theatre des Champs-Elysees

cond. Enrique Mazzola, dir. Jacques Osinski


“Sarah Tynan plays with subtlety the squire Roggiero.”

“...Sarah Tynan incarne avec subtilite l'ecuyer Roggiero.”

Philippe Venturini, Les Echos, May 2014



Manon in Henze's Boulevard Solitude / Welsh National Opera

cond. Lothar Koenigs, dir. Mariusz Trelinski


“Sarah Tynan's Lulu-esque Manon is the best thing she has done.”

Hugh Canning, Sunday Times, March 2014


“All other characters are archetypes - which in no way detracts from the elusive power of Sarah Tynan's slim, chic, lingerie-clad Manon, one of the best things she has done.”

Andrew Clark, Financial Times, March 2014


“Sarah Tynan's Manon is both damaged and hardened; sensual and seemingly sincere one moment, coarse and venal the next. The way that her face and gestures uncannily capture the transitions and tensions between these extremes is mesmerising. So, too, is her singing: the effortless sweetness, coming from this stockings-and-suspenders tart, only emphasising Manon's elusiveness.”

Richard Morrison, Times, five stars, February 2014


“Tynan's Manon is heartless and spineless, a human void - but one who sings with an icy clarity and accuracy that makes her irresistible. Her performance is first-rate.”

Rupert Christiansen, Daily Telegraph, February 2014


“Sarah Tynan's brilliantly icy heroine has her superficial glamour slowly stripped away to reveal nothingness beneath.”

Opera Now, April 2014


“Sarah Tynan's sinuous, leggy Manon [was] first rate.”

Andrew Clements, Guardian, February 2014


“Both [Sarah Tynan and Jason Bridges] give first-rate dramatic accounts.”

George Hall, The Stage, February 2014


“On stage, meanwhile, Sarah Tynan gave the performance of a lifetime as Manon. Henze's Manon is very much the mistress of her own impulses; Tynan somehow combined a confident, seductive sensuality with flashes of vulnerability - all sung with a voice of such sweetness and purity that you could feel exactly why Des Grieux (Jason Bridges, almost matching Tynan for tonal beauty) falls for her so hard, and why the other men in her life, her brother Lescaut (Benjamin Bevan) and Lilaque senior (Adrian Thompson – making a deeply ambiguous role strangely sympathetic) are so completely her playthings.”

Richard Bratby, Birmingham Post, March 2014


“Sarah Tynan, alluring of voice and appropriately seductive yet curiously detached as a character, caught Manon’s knowing side and yet managed to retain some sympathy. Her silvery tones were heard to advantage.”

Alexander Campbell, Classical Source, March 2014


“Sarah Tynan preserves immaculate control while being variously displayed and pawed at by assorted pig-masked sugar-daddies.”

Stephen Walsh, The Arts Desk, February 2014


“Manon is an extremely sexy, tough and ruthless young woman, beautifully portrayed by Sarah Tynan.”

Mark Ronan, February 2014


“An alluring Sarah Tynan is Manon, victim from the start as she is led away by the cops having killed her rich client Lilaque”

Mike Smith, Wales Online, February 2014


“Slinky, superb soprano Sarah Tynan is icily corrupt as the eponymous heartless whore flashing her wonderful long legs - and more - to rinse a succession of undesirable would-be Lotharios.”

Karen Bussell, What’s On Stage, March 2014



Marzelline in Fidelio / English National Opera

cond. Edward Gardner, dir. Calixto Bieito


“But rise above these theatrical solecisms and go, if only to honour the wonderful musicians: Gardner, the orchestra, the chorus, and other soloists - including James Creswell, particularly sympathetic as Rocco the jailer, Sarah Tynan (Marzelline) and Adrian Dwyer (Jaquino) - made this an evening to remember, even if the rest is best forgotten.”

Fiona Maddocks, Guardian, September 2013


“One can only admire the sang-froid of Sarah Tynan as Marzelline, not to mention her head for heights, as she maintains a steady, silvery tone while scampering up and down ladders pursued by Adrian Dwyer's hapless Jaquino.”

Richard Morrison, Times, September 2013


“Sarah Tynan is great casting as Marzelline...”

Simon Thomas, Whats on Stage, September 2013


“Sarah Tynan's singing was charming and fresh...”

Peter Reed, Classical Source, September 2013


“Sarah Tynan's Marzelline is ravishingly sung.”

Michael Church, Independent, September 2013


“...soprano Sarah Tynan was an admirably ardent, focused Marzelline.”

Helen Wallas , Classical Music, September 2013


“Sarah Tynan's engaging Marzelline...”

Barry Millington, London Evening Standard, September 2013


“For instance, when the infatuated Marzelline (the radiant Sarah Tynan, pictured right) first sees Fidelio - the disguised Leonore (Stuart Skelton) - their eyes lock over the balmy string chords which introduce the sublime act one quartet, which expresses everyone's feelings in barely five minutes.”

Edward Seckerson, The Arts Desk, September 2013


“Sarah Tynan was an appealingly cute Marzelline and she sang her lines with strength and purity despite being asked to shin up and down the vertiginous set.”

Sebastian Petit, Opera Britannia, September 2013



Adina in L'Elisir d'Amore / Opera Holland Park

dir. Pia Furtado


“Dolton's energy, von Bergen's machismo, Di Toro's warmth, the mellow playing of the City of London Sinfonia under Stephen Higgins, and, most of all, Tynan's exquisitely idiomatic performance of "Prendi, per me sei libero" combine to touching effect.”

Independent, July 2013


“...the greatest musical virtue of the evening was surely the wonderful Adina of Sarah Tynan. Ms Tynan has previously performed the role with English National Opera and her experience showed; 'Chiedi all'aura lusinghiera' was beautifully voiced, Ms Tynan's upper register clear and exquisitely coloured. Though Donizetti spins much of radiance and exultancy in L'elisir, the opera works so well because of the simultaneous presence of wistfulness and melancholy. Ms Tynan's Adina evoked this nuance superbly, her tone vividly bright but also subtly emotive. With her chic blue dress and long blond hair she looked the part to perfection too, convincingly effecting the transition from slightly callous object of desire in Act I to a woman fully in love in Act II, realising at last she has long taken for granted the best man she knows.

Ms Tynan is surely worth catching in the role...”

Opera Britannia, July 2013


“Thank goodness for Sarah Tynan... The golden voiced Tynan, who played the role to great acclaim in the ENO production, is a glorious Adina, brittle and flirtatious but with a touching vulnerability when she thinks she is about to lose the man she has taken for granted.”

The Express, July 2013


“Sarah Tynan, here making an impressive debut for Opera Holland Park, produced a sparkling sound across the board, and her voice... was full of nuanced expression.”

Bach Track, July 2013


“Sarah Tynan played Adina courteously, a girl who observes and is somewhat prim and haughty. Her assumption of the role was the highlight, the libretto delivered with clarity and accuracy, her voice meltingly beautiful and with a glistening coloratura.”

Classical Source, July 2013


“Much of the success of this production revolves around Sarah Tynan's Adina, a distinguished performance with layers of expressive range and vocal shading - and she grows in dignity after admitting her love for Nemorino.”

The Stage, July 2013



Orff Carmina Burana / Royal Festival Hall

London Philharmonic Orchestra / cond. Hans Graf


“Sarah Tynan, who stepped in at the last minute to replace the sickly Sally Matthews, had just the right sweetness of tone to give the final Courtly Love scene the sensuous quality it needs...”

Chris Garlick, Bach Track, April 2013



Valencienne in Lehar The Merry Widow / Royal Festival Hall

Philharmonia Orchestra / cond. John Wilson


“there was lots to enjoy, with a stalwart performance from Alan Opie as the ambassador, and stylish contributions from Sarah Tynan and Nicholas Sharratt”

Martin Kettle, Guardian, December 2012


“Sarah Tynan was a sweet-voiced, cleverly detailed Valencienne”

Hiliary Finch, Times, December 2012



Zerlina in Mozart Don Giovanni / English National Opera

cond. Edward Gardner, dir. Rufus Norris


“Sarah Tynan played a coy and manipulative Zerlina; indeed, Tynan was the other female standout of the evening [alongside Sarah Redgwick] for the fantastic control of her pingy and full voice: her career will be watched with great interest”

Michael Migliore, Musical Criticism, November 2012


“Islington-resident Sarah Tynan continues to build her operatic reputation with an outstanding Zerlina”

Sebastian Taylor, Camden New Journal, October 2012


“Sarah Tynan [was] a sexy and sparky Zerlina [and] showed once again what a delightfully watchable performer she is. Her two arias were ravishingly sung”

Steve Silverman, Opera Britannia, October 2012


“fine singing from Tynan”

Michael Church, Independent, October 2012


“in two immensely spirited performances Sarah Tynan and John Molloy as Zerlina and Masetto bring home the working class’s naivety and susceptibility”

Sam Smith, Londonist, October 2012


“Believably innocent, beautiful of voice, sure of phrase, she shone”

Colin Clarke, Seen and Heard International, October 2012


“She put her soubrette talents to vulnerable effect in her tangles with the Don, and something more complex with Masetto”

Peter Reed, Classical Source, October 2012


“Sarah Tynan [...] sang extravagantly well as Zerlina”

Mark Valencia, WhatsOnStage, October 2012


“Sarah Tynan sings Zerlina with richness across her range”

Edward Bhesania, The Stage, October 2012


“Sarah Tynan and John Molloy reprise their roles as Zerlina and Masetto with as much charm and gusto as ever. Tynan in particular is pitch-perfect in her canny but delicately vulgar bride-to-be (who could resist her Batti, batti?)”

Alexandra Coghlan,, October 2012


“Tynan sang the role beautifully, with poise and a fine sense of line and shape, making her stand out from the others”

Robert Hugill, Planet Hugill - Classical Music Blog, October 2012


“Sarah Tynan is pretty much everything and more that you could want from a Zerlina”

Edward Seckerson, October 2012



Carrie Pipperidge in Carousel / Opera North

cond. James Holmes, dir. Jo Davies


“Sarah Tynan (as Julie's friend Carrie) uses her fluttery soubrette sound charmingly.”

Warwick Thompson, Businessweek, August 2012


“Katherine Manley's Julie and Sarah Tynan's Carrie are ideally balanced.”

John Allison, Telegraph Seven Magazine, August 2012


“Sarah Tynan's pert Carrie gives the impression that she'll be more than a match for her fisherman intended, Enoch Snow ... - once she's convinced him that nine children, no matter how well organised, are more than enough.”

TNTmagazine, August 2012


“Some of the singing is absolutely superb, as you would expect from a production by the acclaimed Opera North. Stand-out performances by Michael Todd Simpson as Billy and Islington's own Sarah Tynan as the coquettish Carrie, as well as the amazing orchestra make for an impressive show.”

Jon Dean, Gravesend Reporter, August 2012


“Far better is Sarah Tynan as her pert friend Carrie Pipperidge, who suggests a winning dose of mischief behind her eminently sensible marriage.”

Fiona Mountford, Evening Standard, August 2012


“Two of the highest profile operatic names ... steal the show. Sarah Tynan as Julie's best friend Carrie has a pleasing voice and comic touch…”

Sam Smith, Londonist, August 2012


“Carrie, delightfully and impishly played by Sarah Tynan, has the sense to marry Mr Snow (an engaging Joseph Shovelton), a decent, hard-working chap - but despite his many plans, she clearly intends to manage him.”

Sarah Hemming, Financial Times, August 2012


“Further delights come in the shape of Sarah Tynan as Carrie, the sweet child who marries her beloved fisherman Mr Snow (Joseph Shovelton) and has nine children by him.”

Michael Darvell, Classical Source, August 2012


“The two marvelous examples of luxury casting that grace this opening Barbican cast: Sarah Tynan's gloriously galumphing and luminously sung Carrie (imagine Ado Annie channeling Phoebe from Friends)...”

Mark Valencia, Classical Source, August 2012



Cleopatra in Giulio Cesare / Opera North

cond. Rober Howarth, dir. Tim Albery


“Tynan's Cleopatra delivers some of the finest, most tasteful baroque singing you will hear anywhere.”

Alfred Hickling, Guardian, January 2012


“Sarah Tynan's outstandingly believable Cleopatra tremulously whispering her despairing music, then curling into a foetal huddle as she is chained, humiliated and incestuously abused.”

Richard Morrison, Times, January 2012


“...her singing is agile, stylish and radiant in the long lines of "Per pieta" and "Piangero" ”

Anna Picard, Independent, January 2012


“Cleopatra, beautifully sung by Sarah Tynan, is brilliant, physically and vocally. Tynan's sheer stamina is a revelation.”

Graham Rickson, The Arts Desk, January 2012


“But - as ever - it is Cleopatra who steals the show. She is vivaciously sung and acted here by Sarah Tynan, who pulls off the not-inconsiderable vocal demands of the role with ease while maintaining a fine balance between seductiveness and vulnerability.”

Philip Andrews, Sheffield Telegraph, January 2012


“In creating her Cleopatra, Sarah Tynan has strayed as far from the obvious as possible: there are no nods to Liz Taylor’s iconic portrayal here. Instead of the archetypal Egyptian seductress, we are presented with a willowy, blonde, vulnerable queen who, although determined to succeed in a man's world, does not take on male characteristics to do so. This extremely feminine characterisation brings us closer to Cleopatra than we might expect, and is entirely suited to Tynan's pretty, delicate soprano which sparkled through the more upbeat moments of the opera and created a great depth of emotion during her arias of love and longing. Her 'V'adoro, pupille' ('I adore you, eyes') was a glorious, atmospheric highlight of the evening, with Cleopatra dipping her toes into the pool of water in the centre of the set as she sang the beautiful decorative repeats. Surrounded by soft candlelight, Tynan's lovely tone filled the theatre with a beautiful, intense warmth that was utterly seductive. Equally moving was her 'Piangero la sorte mia' ('I shall lament my fate'), in which she moved seamlessly between sad reflection and spirited anger.”

Laura Wilson, Bach Track, January 2012


“The evening belongs especially to [...] Sarah Tynan as Cleopatra, flirtatiously lifting the opera's rather stolid opening or mischievously relishing the disguised pursuit of her loved one or suffering with regal courage, is fully in command of the role, with her imprisonment bringing singing of exceptional beauty.”

Ron Simpson, Whats on Stage, January 2012


“Sarah Tynan's highly physical Cleopatra offers genuine sparkle, her sequence of arias the highlights of the evening.”

George Hall, The Stage, January 2012


“Sarah Tynan shone as the seductive, despairing Cleopatra.”

This is Nottingham, February 2012


“Sarah Tynan, as a blonde Cleopatra is not only Queen of the Nile, but also of coloratura.”

Sarah E Scott, Chronicle Live, March 2012


“...they've found the winning formula, with a slender blonde Cleopatra (Sarah Tynan) who activated all the surprising seductiveness of the music as well as its poignancy”

Gail-Nina Anderson, Journal Live, March 2012



Adina in The Elixir of Love / English National Opera

 cond. Rory Macdonald, dir. Jonathan Miller


“Sarah Tynan's glamour-puss Adina transformed from the brisk, nobody's-fool bar owner to a sentient young woman increasingly aware of the respective values of the two men interested in her; her singing was clean and direct.”

George Hall, Opera, November 2011


“Sarah Tynan is a bewitching, coquettish Adina, narrating her ballad of Isolde from a gossip magazine and making a microphone from a mop-handle. Wiggling and romping her way through the part with the most successful American accent of the evening, her light voice sits well within the jazzed-up, music-theatre clarity of the production, flirting with the trickier coloratura passages with the same effortless skill as with Nemorino.”

Alexandra Coghlan, The Arts Desk, September 2011



Soloist in Unsuk Chin's Kala

BBC Symphony Orchestra / cond. Ilan Volkov


“...did wonders of pitching and... seemed confident at the music's extremes - soprano Sarah Tynan dealing with the very high, bass Adrian Peacock with the very low.”

Richard Fairman, Financial Times, April 2011


“Soprano Sarah Tynan eventually joined in, lending a surprisingly affecting, rich tone to something apparently aloof and inscrutable.”

Ivan Hewett, Daily Telegraph, April 2011



Adina in The Elixir of Love / English National Opera

cond. Pablo Heras-Casado, dir. Jonathan Miller


“Best of all was Sarah Tynan, who had the perfect stage presence for Adina, and whose agility and beauty of tone never deserted her.”

Roger Parker, Opera Magazine, April 2010


“Sarah Tynan makes a cute Adina.”

Andrew Clark, Financial Times, February 2010


“Tynan... with singing of unaffected honesty.”

Neil Fisher, Times, February 2010


“Sarah Tynan's vocally and physically pert Adina”

Edward Seckerson, Independent, February 2010


“Tynan, whose voice warms our hearts as her costume and mannerisms mark her out as the archetypal 1950s beauty.”

Sam Smith, Music OMH, February 2010


“Sarah Tynan's Adina is extremely rewarding.”

Dominic McHugh, Musical Criticism, February 2010


“Sarah Tynan... brings lissome wit to Adina, whom she plays as a bel canto Marilyn Monroe.”

Mark Valencia, What's on Stage, February 2010


“Tynan... has a voice that is perfect for light opera and brings true acting ability to her performance.”

William Hartston, Daily Express, February 2010



Monique in Elizabeth Maconchy's The Sofa / Independent Opera

cond. Dominic Wheeler, dir. Alessandro Talevi / Chandos CHAN10508


“Sarah Tynan gives an alluring portrayal of the soubrette, Monique.”

Arlo Mckinnon, Opera News, October 2009



Iris in Semele / La Monnaie

cond. Christophe Rousset, dir. Huan Zhang


“The most exciting character on the stage is the exquisite Iris sung by Sarah Tynan, perfect in both style and diction.”

Nicolas Blanmont, La Libre, September 2009


“Sarah Tynan shines brightly in Iris.”

George Loomis, New York Times, September 2009



Susanna in Le nozze di Figaro / Cincinnati Opera

cond. Sir Roger Norrington, dir. James Alexander


“Sarah Tynan was a beautiful porcelain doll of a Susanna, singing with silver tone and acting with low-key refinement, a most charming portrayal.”

Charles Parsons, Opera News, September 2009


“Tynan was ideal as Susanna and added sweet, youthful charm to the proceedings. Her Act IV aria, 'Deh vieni, non tardar' sparkled with silvery high notes, and her Letter Duet with Cabell was rapturous.”

Janelle Gelfand, Cincinnati Enquirer, June 2009



Iphis in Jephtha / London Handel Festival Choir and Orchestra

cond. Laurence Cummings


“Sarah Tynan's Iphis is something of a known quality as she has performed it on stage with ENO. But in a far smaller venue such as St George's Church, we were able to get to know her performance in more detail. Tynan brings an admirable technique and a beautifully limpid voice to the role. But she is much more than this: from the first she created in Iphis a simple directness. She added to this both poignancy and a slightly steely nobility as the character's role developed. Tynan made Iphis a real character rather than a cipher, and she did this by performing Handel's music with beauty and intelligence.”

Robert Hugill, MV Daily, April 2009



Vaughan Williams Serenade to Music

BBC Proms 2008 / BBC Symphony Orchestra / cond. Sir Andrew Davis


“This was the original extravagant, multivoiced version: and Shakespeare's lines were carolled and chorused forth by 16 young singers, summoned to "sweet harmony" by Sarah Tynan's golden soprano.”

Hilary Finch, Times, August 2008


“...No one could complain when the prominent part of Isobel Baillie was so ably taken by the silvery-toned Sarah Tynan.”

Barry Millington, Evening Standard, August 2008



Servilia in La Clemenza di Tito / Orchestra of the Age of Enlightenment

cond. Edward Gardner


“Sarah Tynan produced a lovely, affecting sound in Servilia's second-act aria”

Allan Kozinn, New York Times, August 2008


“The roles which illuminate and shadow the main plot were compellingly sung too, (including), the sweet Servilia of Sarah Tynan”

Hilary Finch, Times, July 2008


“Sarah Tynan was wonderfully cast as the sweet Servilia”

Intermezzo, July 2008


“Sarah Tynan as Servilia impressed”

Classical Source, July 2008



Sophie in Der Rosenkavalier / English National Opera

cond. Edward Gardner, dir. David McVicar


“Sarah Tynan looks a treat and simpers sweetly.”

Hugh Canning, Sunday Times, June 2008


“...the dazzling Sophie of Sarah Tynan.”

Anthony Holden, Observer, June 2008


“Sarah Tynan made a cute Sophie, with the money notes for the Presentation of the Rose.”

Rupert Christensen, Daily Telegraph, May 2008


“Sarah Tynan's silver-toned Sophie... Tynan brings a feisty spark to the often insipid role...”

Richard Morrisson, Times, May 2008


“Sarah Tynan (Sophie) bounces in like a fluffy meringue and adds whipped cream for her stratospheric flights of fancy.”

Edward Seckerson, Independent, May 2008









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