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.
The Times, March 2017
Sarah Tynan is deliciously tart, sustaining shining tone and crystal diction through eight taxing arias, notably the beautiful Act 2 ‘Voglio amare’
The Telegraph, 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...
her vocal fireworks light up the night.
What’s On Stage, March 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, October 2017
ENO regular Sarah Tynan scores a personal triumph with her first Rosina... the coloratura realised with impressive skill and confidence.
The Stage, October 2017
Sarah Tynan is a Rosina with very sharp claws,
whose impeccable coloratura gloriously fills the large auditorium.
Independent, October 2017
Barber of Seville - ENO
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, 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
A sparkling central performance from Sarah Tynan as Fiorilla
The Times, June 2017
Turco in Italia - Garsington
Tynan’s extraordinarily intrepid performance surely crosses into realms where no opera singer has gone before.
The Times, June 2016
Sarah Tynan maintained a superb poise and lovely tone, whilst being scarcely less acrobatic than the acrobats.
The 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
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
Les Illuminations - Aldeburgh
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.
Opera, April 2016
Sarah Tynan's Ginevra is dignified and ardent, her voice luminous and agile.
The Guardian, February 2016
Tynan navigates Ginevra's mad scene with pathos and intelligence, dancing as stylishly as she sings.
The Times, February 2016
Ariodante - Scottish Opera
Sarah Tynan's Lulu-esque Manon is the best thing she has done.
The Sunday Times, March 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.
The Daily Telegraph, Feb 2014
Winner of Best Female in an Opera Production -
Welsh Theatre Awards 2015
Boulevard Solitude - WNO
Lucia di Lammermoor
After two recent successful bel canto débuts, next season includes the dream role of Lucia!
Coming soon is Vaughan Williams' Symphony No.7 "Sinfonia Antartica"
with the Philharmonia.
Sarah will be singing in Haydn's The Creation in the Usher Hall with Edward Gardner and the Scottish Chamber Orchestra.