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 23/24 season, Ms. Mesko returns to Opera Theatre of Saint Louis for the title role in Handel’s Julius Caesar and makes her debut with the Houston Chamber Choir and Orchestra in the world premiere of Daniel Knaggs’s new major work The Joyful Mysteries. Last season she made her debut on the roster of the Lyric Opera of Chicago for Carmen. On the concert stage, she debuted with Opera Lafayette for Pergolesi’s Stabat Mater and Fresno Philharmonic for Beethoven’s Symphony No. 9.
Sarah returned to Houston Grand Opera and Opera Theatre of Saint Louis for the title role in Carmen and to The Metropolitan Opera for Rodelinda (Eudige). Other recent engagements at The Metropolitan Opera include Semiramide (Arsace), Carmen (Mercédès), and covering the title role in Agrippina. She sang the title role in Carmen (title role) with Tulsa Opera and made her Canadian debut in Le comte Ory (Isolier) with Edmonton Opera. 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. In previous seasons, Ms. Mesko was seen at The Metropolitan Opera in Die Zauberflöte (Zweite Dame) and Il trovatore (Ines) while covering in Cendrillon (Le Prince Charmant). She also made her New York Philharmonic debut, her Cincinnati Opera debut in Monteverdi’s L’incoronazione di Poppea (Ottavia), and her house/role debut in Little Women (Jo) with Annapolis Opera.
Sarah made her debut at The Metropolitan Opera in The Magic Flute (Second Lady) and appeared across the United States with The Metropolitan Opera Rising Stars concert tour. She made her role debut as Carmen with Washington National Opera in the Cafritz Young Artist performance; other performances at WNO include in Hansel and Gretel (Hansel), Così fan tutte (Dorabella), Madama Butterfly (Suzuki), and The Magic Flute (Second Lady). Ms. Mesko debuted at The Glimmerglass Festival in Vivaldi’s Catone in Utica (Emilia) to great acclaim and made her debut at Houston Grand Opera in A Little Night Music (Mrs. Segstrom). She made her European debut in Paris in Lully’s Armide (La Sagesse/Sidonie) with Mercury Baroque and the Théatre de Gennevilliers.
On the concert stage, Ms. Mesko has appeared with the National Symphony Orchestra under Tito Muñoz; in Handel’s Hercules (Dejanira) with the Oregon Bach Festival; Alexander Nevsky with the Columbus Symphony and Baltimore Symphony Orchestra under Marin Alsop; and Mozart Requiem with Alexandria Symphony Orchestra. 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.
Sarah was a national finalist in 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 twice; at Washington National Opera and Central City Opera.