Sarah Mesko

Mezzo-Soprano

Managers
Nathan Wentworth
Territory
Worldwide
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“What the audience heard was an exciting mezzo gifted with a generous tone marked by warmth and richness in its middle and lower parts and a silvery sheen as it climbs upward.”
Freddy Dominguez, Operawire, October 30, 2019 - Title role in 'Carmen' at Tulsa Opera

Praised by The Washington Post for her “consistently beautiful sound,” American mezzo-soprano Sarah Mesko is rapidly gaining attention for her “rich mezzo soprano” voice and musicality

In the 2019-2020 season, Ms. Mesko sings the title role in Carmen for her debut with Tulsa Opera and with Opera Theatre of Saint Louis. She also returns to the roster of The Metropolitan Opera to cover the title role in Handel’s Agrippina. Last season Sarah returned to the Metropolitan Opera — following her successful performance of Arsace in Semiramide — to sing Mercédès in Carmen. Additional engagements included her Canadian debut as Isolier in Le comte Ory with Edmonton Opera, and a debut at Opera Theatre of Saint Louis as Ottavia in The Coronation of Poppea. On the concert stage she appeared in Handel’s Messiah at the US Naval Academy, and presented recitals at the University of Arkansas and Hendrix College.

Sarah made her Metropolitan Opera debut as the Second Lady in The Magic Flute in the 2016-2017 season. She has also toured across the United States with the Metropolitan Opera Rising Stars concert tour. She recently made her role debut as Carmen with Washington National Opera in the Domingo-Cafritz Young Artist performance; other roles with WNO include Hansel in Hansel and Gretel, Dorabella in Così fan tutte, Suzuki in Madama Butterfly, and the Second Lady in Die Zauberflöte. Ms. Mesko debuted at the Glimmerglass Festival in Vivaldi’s Catone in Utica to great acclaim, and made her debut at Houston Grand Opera as Mrs. Segstrom in A Little Night Music. She made her European debut in Paris as La Sagesse and Sidonie in Lully’s Armide with Mercury Baroque and the Théatre de Gennevilliers.

On the concert stage, Ms. Mesko has appeared with the National Symphony Orchestra under Tito Muñoz; as Dejanira in Handel’s Hercules with the Oregon Bach Festival; with the Columbus Symphony in Alexander Nevsky; and with the Baltimore Symphony Orchestra under Marin Alsop. Ms. Mesko has made recital appearances with the Dallas Opera at the Dallas Museum of Art; with tenor Paul Appleby for the George London Foundation at the Morgan Library in New York City; with the Dolce Suono Ensemble; with Vocal Arts DC, presenting Janácek’s Diary of One Who Disappeared with tenor Toby Spence; and with San Francisco Opera Center’s Schwabacher Debut Recital Series.

In 2009 Sarah was a national finalist of the Metropolitan Opera National Council Auditions, performing with the Met Orchestra under Patrick Summers. She has won First Prizes in various competitions, including the George London Foundation, the National Society of Arts and Letters, Annapolis Opera, Virginia Opera, Young Texas Artists, Sun Valley Opera, and the Franco-American Vocal Academy. She is also among a rare number of singers who have won the Richard F. Gold Career Grant more than once: in 2011 from Washington National Opera, and in 2009 from Central City Opera.

“The powerhouse mezzo, Sarah Mesko, inhabited this role. Her voice has a rich velvet sheen, and yet still it has the flexibility to roll out the coloratura lines Handel wrote.”
Marilyn Farwell, The Register Guard - Dejanira in "Hercules" at Oregon Back Festival
“[Casey Candebat’s] impassioned Werther to Sarah Mesko’s gorgeously sung Charlotte was one of the truly memorable scenes of the evening.”
Janos Gereben, San Francisco Classical Voice - Charlotte in "Werther" at Merola Grand Finale
“Mezzo-soprano Sarah Mesko had the most consistently beautiful sound as Suzuki, with a particularly robust chest voice…”
Charles Downey, Washington Post - Suzuki in "Madama Butterfly" at Washington National Opera