PRESS

"Mezzo-soprano Sarah Beaty was mesmerizing...she sang with a purity of sound that still filled the room with an array of colors. "
- Mike Telin, Cleveland Classical

"Beaty was outstanding in the three Brahms songs on the program, demonstrating her mastery of the art song as she sang...with emotion, humor and intelligence."
- Mark Satola, The Plain Dealer

"Sarah Beaty was the model of bel canto clarity and brilliance"
- Daniel Hathaway, Cleveland Classical

“...the series opened its season with some of (Hildegard’s) rapturous hymns and songs sung with blinding luminosity by five female soloists (accompanied by harp and vielle) from Ensemble Vocatrix, who didn’t so much take one’s breath away as hyper-oxygenate Zipper Concert Hall.”
- Mark Swed, Los Angeles Times

"The best part of the show was the vitality exuded by the young cast...Sarah Beaty gave warm musicality to the supporting role"
- Alex Ross, The New Yorker, Long Beach Opera's Les Enfants Terribles

"The word-painting in every case is vivid...Sarah Beaty brings these narratives to vibrant life"
- Gramophone, reviewing Naxos album Reactions

"...a beautiful singer and brilliant musician. I was very impressed with the clarity, immediacy, and honesty of (Beaty's) presence."
- Meredith Monk

"Two short arias from American master John Harbison’s iconic opera 'The Great Gatsby' followed, sung beautifully and expressively by mezzo-soprano Sarah Beaty...shining most clearly in her dramatic portrayal of the texts."
- i care if you listen

"(Beaty) sings with real passion and attention to baroque details, with proper embellishments."
- Los Angeles Daily News

"The duet with Beaty at the beginning of Act Two was one of the opera’s most moving and magical moments. As the ice queen Diana...(Beaty) does seem at home in the baroque style."
- Stage and Cinema, Pacific Opera Project’s La Calisto