Intermusica Artists' Management

 

 

Intermusica represents Sarah Tynan worldwide

Manager:
Julia Maynard

Associate Manager:
Catherine Chan

Administrator:
Francesca Alden

Sarah Tynan

Soprano

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

British soprano Sarah Tynan is much sought after on both the opera and concert platforms. A versatile performer, she is renowned for her performances of the Baroque, Classical and contemporary repertoire and appears regularly with leading orchestras and ensembles.

Tynan’s recent operatic highlights include Susanna Le nozze di Figaro at Cincinnati Opera, Iris Semele at La Monnaie, Dalinda Ariodante at Opera de Oviedo, Servilia La Clemenza di Tito with the Orchestra of the Age of Enlightenment, and Luigi Nono’s Al gran sole carico d’amore at the Salzburg Festival. At the English National Opera, she has sung Adina The Elixir of Love, Sophie Der Rosenkavalier, Ilia Idomeneo, Zerlina Don Giovanni, Susanna The Marriage of Figaro, and Tytania A Midsummer Night's Dream. Praised by critics for her convincing portrayal of characters, she works regularly with directors such as David Alden, Katie Mitchell, Phyllida Lloyd, David McVicar and Jonathan Miller.

Last season Tynan performed Campra’s Le Carnaval de Venise with Le Concert Spirituel and Hervé Niquet on an extensive tour to France and the Netherlands, Haydn’s Creation with Indianapolis Symphony under Douglas Boyd, Vaughan Williams’ Dona nobis pacem with Bergen Philharmonic, Messiah with Bournemouth Symphony and Early Opera Company, Viennese Gala with Royal Scottish National Orchestra, and Carmina Burana with BBC National Orchestra of Wales. She has worked with distinguished conductors including Lorin Maazel, Sir Roger Norrington, Sir Andrew Davis, Gianandrea Noseda, Ingo Metzmacher, Christophe Rousset, Thierry Fischer, Richard Hickox, Paul McCreesh, Edward Gardner, Jaap van Zweden, Ilan Volkov and Andrew Litton.

Tynan is also in great demand in contemporary repertoire. She has sung Dallapiccola’s Partita with BBC Philharmonic Orchestra at the BBC Proms, Unsuk Chin’s Kala with BBC Symphony Orchestra, Megan in James MacMillan's The Sacrifice at Welsh National Opera, Monique in Elizabeth Maconchy’s The Sofa for Independent Opera and Pretty Polly in Birtwistle’s Punch and Judy at Casa de Musica.

In the 2011/12 season Tynan returns to the ENO to reprise the acclaimed role of Adina The Elixir of Love, and makes her role debut as Cleopatra Giulio Cesare at Opera North. She also sings Mahler’s Symphony No.8 under Lorin Maazel as part of Philharmonia’s Mahler Cycle. In the future seasons, Tynan will make her debuts at the Teatro Real, Madrid and Théâtre des Champs-Élysées, Paris.

Tynan 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 was invited to join the English National Opera Young Singers Programme, and later an ENO Company Principal, a position she held until 2006/7. She can be heard in recordings of The Italian Girl, Hansel and Gretel, The Marriage of Figaro, and The Carmelites by Chandos Records.

Sarah Tynan is represented by Intermusica.
March 2012  / 448 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire

BIRTWISTLE
Pretty PollyPunch and Judy
BRITTEN
Governess The Turn of the Screw

Tytania A Midsummer Night's Dream
CAMPRA
Le Carnaval de Venise
DONIZETTI
Adina L'elisir d'amore
GILBERT & SULLIVAN
Yum Yum Mikado

Elsie Maynard Yeoman of the Guard

Gianetta The Gondoliers
HANDEL Iphis Jeptha

IrisSemele

DalindaAriodante

AtalantaXerxes

CleopatraGuilio Cesare
JANÁČEK
Vixen The Cunning Little Vixen
MASSANET
Sophie Werther
MACMILLAN
Megan Sacrifice
MONTEVERDI
Melanto / Fortune Il ritorno di Ulisse in patria

Drusilla L’incoronazione di Poppea
MOZART
Despina Cosi Fan Tutte

Susanna Le Nozze di Figaro

Ilia Idomeneo

Zerlina Don Giovanni

Servilia La Clemenza di Tito
NONO Al gran sole carico d’amore
POULENC
Constance Dialogues des Carmélites
RAVEL
Feu / Rossignol L'enfant et les Sortilèges
STRAUSS, RICHARD
Sophie Der Rosenkavalier
TIPPETT
Bella Midsummer Marriage
WAGNER
Waldvogel Siegfried

Concert Repertoire

BACH
St John Passion

St Matthew Passion

Magnificat
BEETHOVEN Mass in C
BERLIOZ Nuits d'ete
Voix Céleste La Damnation de Faust
BRAHMS
Ein Deutsches Requiem
BRITTEN
A ceremony of Carols
DALLAPICCOLA
Partita
FAURE
Requiem
HANDEL
Messiah

Jeptha

Dixit Dominus

Acis and Galatea

Saul *
HAYDN
Die Schöpfung

Nelson Mass

Stabat Mater
MAHLER
Symphony No.2

Symphony No.4* & 8*
MENDELSSOHN
Elijah
MOZART
Requiem

C minor Mass

Exsultate Jubilate

Concert arias
ORFF
Carmina Burana
POULENC
Gloria
RUTTER
Requiem
TIPPETT
A Child of Our Time*
VAUGHAN WILLIAMS
Serenade to Music
VIVALDI
Gloria

* = in preparation

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Cleopatra in Handel’s Giulio Cesare / Opera North
“Tynan’s Cleopatra delivers some of the finest, most tasteful baroque singing you will hear anywhere.”
Alfred Hickling, The 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, The Times, January 2012

“…her singing is agile, stylish and radiant in the long lines of "Per pietà" and "Piangero" ”
Anna Picard, The 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 ‘Piangerò la sorte mia’ (‘I shall lament my fate’), in which she moved seamlessly between sad reflection and spirited anger.”
Laura Wilson, Bachtrack, 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, Whatsonstage.com, 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.”
Thisisnottingham.co.uk, 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

Adina / Donizetti’s The Elixir of Love / English National Opera
Cond. Rory Macdonald / Original Dir. Jonathan Miller
Revival Dir. Elaine Tyler-Hall

“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 Total Immersion
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, The Telegraph, April 2011

Soloist, New Year Viennese Gala
Royal Scottish National Orchestra / cond. David Danzmayr
“Soprano Sarah Tynan's enlivened proceedings with her witty interpretations”
Susan Nickalls, The Scotsman, January 2011

Soloist in Handel’s Messiah
Early Opera Company / cond. Christian Curnyn

“Sarah Tynan dispelled the Advent gloom in a radiant appearance to the Christmas shepherds, with a glorious ’Rejoice greatly’ clinching the sense of rapture that put its stamp on the whole performance.”
Peter Reed, Classical Source, December 2010

“There was no weak link in the soloists’ line-up…with soprano Sarah Tynan… A fabulous evening.”
Michael Church, The Independent, Five Stars December 2010

Zerlina in Mozart’s Don Giovanni
English National Opera / cond. Kirill Karabits / dir. Rufus Norris

"successful [was] Sarah Tynan’s vivacious Zerlina”
Barry Millington, The Evening Standard, November 2010

Adina in Donizetti The Elisir 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, 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

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Times Feature
Sarah Tynan: the girl next door grows up Neil Fisher, The Times February 2010 The soprano paid her dues by keeping it light — and working hard If you were to draw up a corporate-style chart of results for the past six years at English National Opera, even the company’s staunchest admirers would have to admit that the graph would look pretty volatile. But there is one blue-chip investment at ENO plc that has consistently outperformed the...

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