...a lovely performance by Sarah Tynan in the title role... she presents 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 "Viljia" and "Lippen schweigen", both beautifully phrased and enunciated.
But the evening belongs to Sarah Tynan, whose beautifully sung Hanna is the perfect balance of brassy confidence and vulnerability
The Merry Widow - ENO
Lucia di Lammermoor - ENO
Musically, it’s exceptionally strong... 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.
It’s left to Tynan, though, to give the show its moments of grace and delicacy... 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.
Outstanding... 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".
Partenope - ENO
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.
Sarah Tynan is deliciously tart, sustaining shining tone and crystal diction through eight taxing arias, notably the beautiful
Act 2 ‘Voglio amare’
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...
her vocal fireworks light up the night.
What’s On Stage
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.
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.
A sparkling central performance from Sarah Tynan as Fiorilla
Turco in Italia -
Tynan’s extraordinarily intrepid performance surely crosses into realms where no opera singer has gone before.
Sarah Tynan maintained a superb poise and lovely tone, whilst being scarcely less acrobatic than the acrobats.
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.
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
Les Illuminations - Aldeburgh
Ariodante - Scottish Opera
Sarah Tynan's Ginevra (her first) married sincerity of demeanor and sweetness of vocal address -
this is a role in which Tynan deserves to go far.
Sarah Tynan's Ginevra is dignified and ardent, her voice luminous and agile.
Tynan navigates Ginevra's mad scene with pathos and intelligence, dancing as stylishly as she sings.
Sarah Tynan's Lulu-esque Manon is the best thing she has done.
The Sunday Times
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.
The Daily Telegraph
Winner of Best Female in an Opera Production
Welsh Theatre Awards
Boulevard Solitude - WNO
The Turn of the Screw
The Royal College of Music
Sarah and Stormzy!
Coming soon are performances as the Governess in Britten's "The Turn of the Screw" in a revival of Alessandro Talevi's Opera North successful production.
More information can be found here
Sarah has always enjoyed teaching privately alongside her performing and so it is with great pleasure she will be joining the Royal College of Music's Vocal Faculty as a professor from September 2020.
Alongside Stormzy, Ed Sheeran and Sir Simon Rattle, Sarah was named as one of the Evening Standard's 1,000 most influential people in London 2019!
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