ACCLAIM


 

"Sara Murphy impressed in each of her appearances, from her deeply felt 'Woe unto them who forsake Him' to her powerful Jezebel, the biblical queen who drives Elijah into the wilderness. As the angel, her message to Elijah 'O rest in the Lord,' was heartfelt and comforting."

Cincinnati Enquirer, May 29, 2016
Mendelssohn Elijah
Cincinnati May Festival
James Conlon, conductor
 

"Sara Murphy was an earthy, motherly presence as Mother Bayard and Cousin Ermengarde."

Opera News, March 2015
The Long Christmas Dinner
American Symphony Orchestra
Leon Botstein, conductor

 

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"Sara Murphy ... another force to be reckoned with ... Her grand, expansive voice, was like a rich Columbian coffee blendsmoothbut bracing, as she used her superb diction to enunciate the sorrows of "He Was Despised."

Huffington Post, December 23, 2014
Messiah
Oratorio Society of New York
Kent Tritle, conductor

 

"The rich-voiced mezzo-soprano Sara Murphy was especially endearing as Mother Bayard and, later, Cousin Ermengarde."

New York Times, December 22, 2014
The Long Christmas Dinner, Paul Hindemith
American Symphony Orchestra
Leon Botstein, conductor

 

"The mezzo-soprano Sara Murphy sang with poise and emotive force in the ominous third movement."

New York Times, December 17, 2014
Nagasaki, Alfred Schnittke
American Symphony Orchestra
Leon Botstein, conductor

 

"Ms. Murphy and the soprano Jennifer Zetlan sang the startling solo excerpts with expressive intensity."

New York Times, December 17, 2014
Requiem, Gyorgy Ligeti
American Symphony Orchestra
Leon Botstein, conductor

 

"... a gorgeous, deep, dark mezzo-soprano... ”

New York Times, October 20, 2013
Rachmaninoff Vespers
Sacred Music in a Sacred Space
K. Scott Warren, conductor

 

"In the 'Esurientes' Ms. Murphy handled the flowing runs with assurance but also deep feeling. "

The New York Times, October 21, 2012
Bach Magnificat
Sacred Music in a Sacred Space
K. Scott Warren, conductor

 

“… Sara Murphy brought a rich, voluminous mezzo voice, excellent diction and an acute feeling for words and music to the anguished heart of the piece.”

Chicago Tribune, July 26, 2013
Britten Phaedra, Barber Dover Beach
Chicago Symphony Orchestra, Ravinia
James Conlon, conductor

 

“… there were fine performances ... especially Sara Murphy as a priestess.”

Chicago Tribune, August 4, 2013
Verdi Aida
Ravinia
James Conlon, conductor

 

"Sara Murphy contributed a fervent 'Judgment Scene' from Aida, her full, round mezzo-soprano trembling with anguish ... ”

The Star-Ledger, September 24, 2013
Verdiana
MidAtlantic Opera
Jason Tramm, conductor

 

[The] American Sara Murphy [was] absolutely unforgettable for her versatility and ability to conquer any sensitive soul."

El Nacional, February 21, 2012
Teatro Nacional, Santo Domingo
República Dominicana

 

Classical Singer profiled Sara Murphy in September 2015 in "Wearing All the Hats: Singers as Administrators."

 

The Long Christmas Dinner is "highbrow brilliant" in New York Magazine's December 29, 2014 Approval Matrix.


"A high point in the concert came in a finely-crafted 'aria' which Schnittke assigns to a solo mezzo-soprano voice. Tonight Sara Murphy expanded on the excellent impression she had made in the Ligeti: her voice has depth and warmth; it's even and glowing throughout the range, and fills the hall effortlessly. Her singing has a rich emotional resonance which derives from the sound itself, free of theatrical embellishments. This was some of the most soul-pleasing vocalism I have heard in the past decade. She was enthusiastically cheered as she took her bows."

Oberon's Grove, December 2014
Nagasaki, Alfred Schnittke
American Symphony Orchestra
Leon Botstein, conductor

 

"The work calls for two vocal soloists, and tonight's artists coped impressively with the demands Ligeti placed on them. Mezzo-soprano Sara Murphy produced ample, steadily-sustained tones at tricky, almost random-sounding intervals."

Oberon's Grove, December 2014
Requiem, Gyorgy Ligeti
American Symphony Orchestra
Leon Botstein, conductor

 

Equally brilliant–without any reservations whatsoever—were Mezzo-soprano Sara Murphy and Soprano Jennifer Zetlan. Their challenge was to make the huge octave-and-a-half leaps, to sing in minor-seconds with each other (perhaps even microtones!), to keep not only perfect pitch but to allow each note to have its own change colors and vibratos.

Concertonet, December 2014
Requiem, Gyorgy Ligeti
American Symphony Orchestra
Leon Botstein, conductor

 

"Ms. Murphy has a glorious voice that easily encompassed the wide-ranging role from below the passaggio to above the staff. She is a truly fine singer.”

Albertitalks.com, August 4, 2014
The Dream of Gerontius
Berkshire Choral Festival
Kent Tritle, conductor

 

"...[B]oy howdy, mezzo Sara Murphy is worthy of my most enthusiastic raves. Her Lux aeterna was lyrical and full of drama at the same time. Her Liber scriptus has set a new standard by which I shall judge all other performances of Liber scriptus. Her performance was sensitive musically and completely on the mark vocally, her sound always beautiful and free. Why is this lovely woman not singing everywhere? I would compare her to Amnerises and Adalgisas with world-class careers today, and she'd win."

Taminophile.com, October 20, 2013
Verdi Requiem
New York Symphonic Arts Ensemble
Marina Alexander, conductor

 

“Murphy is skirting the perimeter of a big musical career, prepping in churches and chorale music and starting to work in Wagner and Verdi operas. She has a glorious, full voice and fills a hall without effort, but with great beauty. Surely a mezzo to be heard. Around the hall, when she finished, everyone was whispering, “Where has she been?”

Berkshire Fine Arts, July 27, 2013
Britten Phaedra, Barber Dover Beach
Ravinia
James Conlon, conductor