Following Sarah Tynan’s acclaimed role debut singing Susanna The Marriage of Figaro at the English National Opera, she has been invited to make her house debut at Houston Grand Opera singing Sophie Der Rosenkavalier, at Cincinnati Opera singing Susanna, as well as a return invitation to ENO for Ilia in a new production of Idomeneo.
Sarah has recently sung Servilia La Clemenza di Tito in concert with the Orchestra of the Age of Enlightenment and Edward Gardner in London and New York, and her debut at the Salzburg Festival in a new production of Luigi Nono’s Al gran sole carico d’amore under Ingo Metzmacher.
Sarah studied at the Royal Northern College of Music and the Royal Academy of Music where she was awarded the Queen's Commendation for Excellence. She appeared as Iphis in Handel’s Jephtha in the acclaimed Welsh National Opera production conducted by Paul McCreesh. She was then invited to join the English National Opera Young Singers Programme, and later an ENO Company Principal, a position she held until 2006/7.
Her operatic roles have included most recently the critically acclaimed role debut as Sophie Der Rosenkavalier, Susanna for Cincinnati Opera under Sir Roger Norrington and for the ENO, Tytania A Midsummer Night's Dream, Woodbird Siegfried, Iphis Jephtha, Atalanta Xerxes, Sister Constance The Carmelites, Yum-Yum Mikado, Dalinda Ariodante, Gianetta The Gondoliers, Bella Midsummer Marriage, Pretty Polly Punch and Judy, the Governess Turn of the Screw, Melanto and Fortune Il ritorno d’Ulisse in patria, Megan in James MacMillan's new opera The Sacrifice for Welsh National Opera, title role The Cunning Little Vixen under Sir Charles Mackerras, Zerlina Don Giovanni under Sir Colin Davis, Drusilla L'incoronazione di Poppea and Feu/Rossignol L'Enfant et les Sortilèges. Sarah has also recorded Elvira The Italian Girl, the Dew Fairy Hansel and Gretel, Barbarina The Marriage of Figaro, and Sister Constance The Carmelites for Chandos Records.
Among her busy concert engagements Sarah recently sang Haydn’s Creation with the Chamber Orchestra of Europe on tour, Jephtha at the London Handel Festival and made her BBC Proms debut with the BBC Symphony Orchestra and Sir Andrew Davis. She sang in a semi staged performance of The Pilgrim’s Progress with the Philharmonia Orchestra under Richard Hickox, Mozart’s Requiem conducted by Sir Roger Norrington at the Spitalfields Festival, Mahler Symphony No.2 with the Netherlands Symphony Orchestra conducted by Jaap van Zweden, Messiah with the Hallé Orchestra and a tour of China with the London Philharmonic Orchestra, concerts with the BBC National Orchestra of Wales and Thierry Fischer , the Academy of Ancient Music, and at the Brighton Festival.
Forthcoming engagements include Iris Semele at La Monnaie, Dalinda Ariodante Opera de Oviedo, Adina L’elisir d’amore and Ilia Idomeneo for ENO, Carmina Burana at the Royal Albert Hall, and Berlioz Nuits d’ete with the Manchester Camerata under Douglas Boyd.
Sarah Tynan is represented by Intermusica.
September 2009 / 466 words. Not to be altered without permission. Please destroy all previous biographical material.
Adina in Donizetti The Elisir of Love
English National Opera / cond. Pablo Heras-Casado / dir. Jonathan Miller
“Sarah Tynan makes a cute Adina.”
Andrew Clark, The Financial Times, February 2010
“Tynan… with singing of unaffected honesty.”
Neil Fisher, The Times, February 2010
“Sarah Tynan's vocally and physically pert Adina”
Edward Seckerson, The 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 lissom 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 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 Handel 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, The New York Times, September 2009
Susanna in Mozart 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 Handel 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, The 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 Mozart 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, The Times, July 2008
“Sarah Tynan was wonderfully cast as the sweet Servilia”
Intermezzo.com, July 2008
“Sarah Tynan as Servilia impressed”
Classical Source, July 2008
Sophie in R. Strauss 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, The 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, The Times, May 2008
“Sarah Tynan (Sophie) bounces in like a fluffy meringue and adds whipped cream for her stratospheric flights of fancy.”
Edward Seckerson, The Independent, May 2008
“Sarah Tynan's Sophie (was) finely sung”
George Hall, The Guardian, May 2008
“Marvellously assured was the Sophie of Sarah Tynan...Tynan's singing had an ideal Mozartian purity that the role needs...(she)projected strongly and managed to combine the passion of Sophie's attraction to Octavian with the restraint demanded of her by society. This young singer goes from strength to strength and is surely destined for great things.”
Dominic McHugh, Musicalcriticism.com, May 2008
Voix Celeste in Berlioz's La Damnation de Faust
BBC National Orchestra of Wales / cond. Thierry Fischer
“Sarah Tynan sang celestially”
Rian Evans, The Guardian, April 2008
Megan in MacMillan's The Sacrifice
Welsh National Opera / cond. James Macmillan / dir. Katie Mitchell
"Sarah Tynan gives a touching performance"
Richard Morrison, The Times, September 2007
"Sarah Tynan, her lyrical vein offsets the hard-edged Nibelung-hammering brutality of the score and nearly upstages Lisa Milne's Siân."
Rian Evans, The Guardian, September 2007
"…the songs given to Megan, Sian's child-like sister, sung exquisitely by Sarah Tynan…."
Mike Smith, The Herald, September 2007
"The protagonist's disturbed sister Megan, a cross between Ophelia and Cassandra beautifully played and sung by Sarah Tynan."
Anthony Holden, The Guardian, October 2007
Susanna in Mozart The Marriage of Figaro
English National Opera / cond. Andre de Ridder / dir. Olivia Fuchs
"Sarah Tynan sings her first Susanna sweetly and pertly"
Hilary Finch, The Times, January 2007
"Sarah Tynan was a bright, enormously likeable Susanna"
Rodney Milnes, Opera Magazine, February 2007
Gianetta in Gilbert and Sullivan The Gondoliers
English National Opera / cond. Richard Balcombe / dir. Martin Duncan
"Things bounce along happily enough in the pit under Richard Balcombe's baton, but none of it sets the world alight until Sarah Tynan steps forward to sing. Then suddenly the sun comes out. This young singer has it all: excellent stagecraft, stylish presence and a sweet, silvery-toned soprano. Bright things beckon for her future, but no more G&S, please."
Stephen Pritchard, The Observer, March 2007
"Sarah Tynan (Gianetta) in her 1950s primary-coloured print frock suggesting an old Doris Day movie both looks and sounds ravishing."
Michael Billington, The Guardian, March 2007
"The main musical treat of the evening is the further emergence of British soprano Sarah Tynan as one of our most promising young actor-singers; (her voice) has an agile lucidity."
Anthony Holden, The Observer, November 2006
"Tynan is a bright, soubrettish soprano, and has good looks and oodles of personality."
Hugh Canning, The Sunday Times, November 2006
Dalinda in Handel Ariodante
English National Opera / cond. Christopher Moulds / dir. David Alden
"One of the most striking contributions came from ENO Young Singer Sarah Tynan as Dalinda. She showed a very clear tone throughout, with remarkable purity of tone."
Dominic McHugh, MusicOMH.com, June 2006
"Sarah Tynan was excellent - light in voice, strong in characterisation - as the besotted Dalinda, tricked into stitching up her mistress."
Richard Morrison, The Times, June 2006
"Sarah Tynan lends a gentle lyricism to the duped lady-in-waiting, Dalinda."
Anthony Holden, The Observer, June 2006
Yum-Yum in Sullivan The Mikado
English National Opera / cond. Simon Lee / orig. dir. Jonathan Miller/ revival dir. David Ritch
"Sarah Tynan's Yum-Yum was sung with delicate point and acted with a blend of grace and knowing sophistication."
George Hall, Opera, April 2006
Atalanta in Handel Xerxes
English National Opera / cond. Noel Davies / dir. Nicholas Hytner & Michael Walling
"As Atalanta, Sarah Tynan was a delight, a vivacious, light soprano singing and acting with wit and intelligence."
Peter Reed, Opera, February 2006
“A treat that stands out in an evening of delights is Sarah Tynan’s skittishly scheming Atalanta: dazzling singing combined with a wicked sense of fun.”
Stephen Pritchard, The Observer, November 2005
“There’s a deft and delightful Atalanta from the spirited Sarah Tynan.”
George Hall, The Independent on Sunday, November 2005
“Sarah Tynan’s Atalanta radiates star quality: the girl who would tear Arsamenes away from her own sister shows her determination with some nifty vocal leaps into the stratosphere, and Tynan gets there in style.”
Neil Fisher, The Times, November 2005
“ENO Young Singer Sarah Tynan was an impressively perky and comic Atalanta.”
Fiona Maddocks, The Evening Standard, November 2005
Constance in Poulenc The Carmelites
English National Opera / cond. Paul Daniel / dir. Phyllida Lloyd
“Sarah Tynan’s Constance was musically enchanting.”
Rodney Milnes, Opera, December 2005
“Everything seemed to be gelling for Sarah Tynan, whose impossibly eager Sister Constance shone through her every scene.”
Edward Seckerson, The Independent, October 2005
“Sarah Tynan as flibberty Constance sings beautifully and gets beyond the syllabic setting to a musical line.”
Robert Thicknesse, The Times, October 2005
Iphis in Handel Jephtha
English National Opera / cond. Nicholas Kramer / dir. Katie Mitchell
"Jephtha was a staging of filmic precision graced by a truly international performance from Sarah Tynan.”
Edward Seckerson, The Independent, December 2005
“The most scrupulous and thus effective singing came from Tynan’s Iphis.”
George Hall, Opera, July 2005
“The singing is wonderful, with Sarah Tynan excelling as the hapless Iphis, bidding a poignant farewell to her lover, Robin Blaze.”
Anthony Holden, The Observer, May 2005
“Sarah Tynan sings a sweetly touching Iphis, Jephtha’s nearly-sacrificed daughter.”
David Murray, The Financial Times, May 2005
“Sarah Tynan (Iphis), her legs buckling beneath her, then takes her music to daring extremes; whitening and intensifying the sound by draining its natural beauty of vibrato. She breaks your heart.”
Edward Seckerson, The Independent, May 2005
“Sarah Tynan again sings the role of Jephtha’s daughter Iphis; her soprano is light and unforced, and she has a strong, natural stage presence. She really engaged with the drama, and her duets with her suitor Hamor were very moving.“
Peter Reed, The Sunday Telegraph, May 2005
“Sarah Tynan, as Iphis, offers a touching portrait of a bewildered girl collapsing into trauma.”
Richard Morrison, The Times, May 2005
“Sarah Tynan is a highly promising young soprano with an attractive, flexible voice and considerable stage presence.”
Barry Millington, The Evening Standard, May 2005
Raymond Gubbay's Christmas concerts: Carols by Candlelight
“The promise of the stunning young soprano Sarah Tynan is a good reason for attending one of Raymond Gubbay’s Christmas concerts.”
Mark Pappenheim, The Independent, December 2005
Mahler Resurrection Symphony No.2
Netherlands Symphony Orchestra / cond. Jaap van Zweden
“Awkward, subtle key shifts were handled carefully, providing a perfect canvas for the angelic voice of Sarah Tynan rising from a final hymn, leading onwards towards an ecstatic uplifting conclusion.”
Maggie Cotton, Birmingham Post, March 2005
Barbarina in Mozart The Marriage of Figaro
Philharmonia Orchestra / cond. David Parry (Chandos CHAN 3113)
“Sarah Tynan is a sweet, virginal-sounding Barbarina.”
Hugh Canning, Opera, March 2005
Woodbird in Wagner Siegfried
English National Opera / cond. Paul Daniel / dir. Phyllida Lloyd
“The Woodbird (the excellently lucid Sarah Tynan) is a teenager on a scooter.”
Amdrew Clements, The Guardian, November 2004
“Musical charm is strictly rationed until Sarah Tynan’s Woodbird lightens the texture.”
Robert Thicknesse, The Times, November 2004
Tytania in Britten A Midsummer Night’s Dream
English National Opera / cond. Paul Daniel / dir. Robert Carsen
“Sarah Tynan’s Tytania has exciting dramatic promise.”
David Murray, Financial Times, July 2004
“That exquisite counter-tenor Robin Blaze dominates the stage – nicely matched by the poised sophistication of Sarah Tynan’s Tytania.”
Bayan Northcott, The Independent, June 2004
“Sarah Tynan’s lovely Tytania sings brightly.”
John Allison, The Times, June 2004
Iphis in Handel Jephtha
Welsh National Opera / cond. Paul McCreesh / dir. Katie Mitchell
“In this work, the relationship of Iphis to her mother, to her betrothed lover, as well as to her father Jephtha is fundamental, and Sarah Tynan acquitted herself with aplomb. Not only was her fresh and clear soprano eminently suited to Handel, but her duetting with Daniel Taylor's Hamor was deeply touching, as well as offering moments of gentle humour as they tried to get the better of their chaperones.”
Rian Evans, Opera, July 2003
“The roster of principals is all trumps too – young Sarah Tynan, fresh and lovely as Jephtha’s unlucky daughter Iphis.”
David Murray, Financial Times, May 2003
“What makes it work, besides emotional truth, are performances of scarifying immediacy. Sarah Tynan’s lowered-gaze, Lady-Di Iphis and her intended, Hamor (Daniel Taylor), are sweet, noble, eventually tragic.”
Robert Thicknesse, The Times, May 2003
“Padmore, Bickley, Taylor and Tynan are heartbreaking.”
Anna Picard, The Independent, May 2003
“Special laurels to the two young leads: visually, to Sarah Tynan as Iphis, who, abetted by red-white imagery and Mitchell’s almost Oedipodean central peropateia, brings to Jephtha’s ravaged child a pathos worthy of Titus Andronicus: a thrilling effort, and an exciting debut.”
Roderic Dunnett, The Independent, May 2003