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Sarah Power
Mar 2020 : Leeds Philharmonic Chorus
She is simply gorgeous with the soaring notes of Korngold’s Marietta’s Aria (from Die tote Stadt) held perfectly [...] Power belts out a sonorous Summertime with exquisite beauty ...
Rich Jevons
Mar 2020 : Leeds Philharmonic Chorus
Next came Marietta’s sublime aria from Korngold’s Die Tote Stadt (The Dead City). This was sung with a gorgeous sense of line by soprano Sarah Power […] Familiar numbers like Summertime - ravishingly sung by Sarah Power …
Geoffrey Mogridge, Wharfedale Observer
Sep 2019 : Deane's Vagabones, Opera Collective Ireland
But it was the performance of soprano Sarah Power as main accuser Mary Longdon that really gripped attention with the quality of her high-pitched, but never strident, singing: Deane does not spare sopranos. Her subtle acting was also admirable.
Dick O'Riordan, Sunday Business Post
Mar 2019 : Haydn's Creation, Harrogate Choral Society
The soprano soloist, Sarah Power, excelled throughout, mesmerising the audience with her impeccable phrasing, lightness of touch and technical prowess in a series of stunning arias and ensembles […] There were some beautifully performed ensembles throughout the work with the duets between soprano and bass in Part 3 standing out in particular.
Kevin Paynes
Oct 2018 : Mozart's Requiem, Harrogate Choral Society
... Sarah Power’s delightful soprano ...
Adrian Selway, Harrogate Advertiser
Jul 2018 : Gluck's Orfeo ed Euridice, Irish National Opera
Soprano Sarah Power is a powerful and poignant Euridice ...
Judy Murphy, Galway City Tribune
Jul 2018 : Gluck's Orfeo ed Euridice, Irish National Opera
At the centre of all this activity stands the Orfeo of Sharon Carty. Her performance is compelling, both vocally and dramatically [...] She is well-matched by Sarah Power as Euridice, singing beautifully ...
Michael Lee,
Jul 2018 : Gluck's Orfeo ed Euridice, Irish National Opera
Mezzo-soprano Sharon Carty [...] displaying clean vocal ease and expression in Gluck’s sweet lyrical lines. In Act III she is uncannily matched in sound for her long-awaited exchanges with the rescued Euridice, soprano Sarah Power.
Michael Dungan, The Irish Times
Jun 2018 : Orff's Carmina Burana, Yorkshire Philharmonic Choir
The soprano parts were sung by Sarah Power. Sarah’s voice is effortlessly lovely, pure and clear. She captivated the audience.
Gail Bowen
Dec 2016 : Handel's Messiah, Dundee Choral Union
Power’s Redeemer Liveth provided, to me, one of the best arias of the evening.
Garry Fraser, The Courier & Advertiser
Dec 2016 : Handel's Messiah, Harrogate Choral Society
Sarah Power, soprano, delivered beautiful and sensitive renderings of How beautiful are the feet, and I know that my Redeemer liveth and, in contrast, a lively and exciting Rejoice Greatly with clearly articulated semiquavers.
Adrian Selway, Harrogate Advertiser
Dec 2016 : Handel's Messiah, Yorkshire Philharmonic Choir
Sarah’s apparent ease of performance, her crystal clear voice coupled with her obvious joy of singing the part both charmed and held the audience enraptured each time she rose to sing.
Derek Howell
Oct 2016 : Handel's Messiah, Exeter Philharmonic Choir
Among the highlights were the soprano soloist Sarah Power in ‘Rejoice’, sung as if she were rejoicing, with good breath control, and producing beauty in ‘How Beautiful are the Feet’.
Anne Brown
Apr 2016 : The Cabinet of Dr. Caligari, Scottish Opera Connect
In the cast of 32 there are some stand-out performances which bode well for the future of opera in Scotland. Previous Scottish Opera Emerging Artists Andrew McTaggart and Sarah Power’s experience clearly shows, both delivering strong vocal performances as Caligari / Gallagher and Jane.
Jan 2016 : Handel's Messiah, Ripon Choral Society
But it was the soprano Sarah Power who made the deepest impression. She possesses an easeful, limpid voice that made How beautiful are the feet utterly memorable.
Alasdair Jamieson, Darlington and Stockton Times
Dec 2015 : Handel's Messiah, Harrogate Choral Society
Sarah Power, soprano, sang with beauty and ease, her entrancing tones delicately filling the huge nave. Miss Power gave beautiful performances of the arias 'How beautiful are the feet' and 'I know that my redeemer liveth'.
Adrian Selway, Harrogate Advertiser
Mar 2015 : Dvorak's Te Deum and Brahms' Requiem, Harrogate Choral Society
The soloists were excellent. Sarah Power, with the appearance of a maiden in a Pre-Raphaelite painting, deployed her lyric soprano to great effect, communicating her fervour directly to the audience.
Anthony Ogus, Harrogate Advertiser
Mar 2015 : Handel's Samson, Dundee Choral Union
Two [soloists] deserve special mention. Sarah Power's [...] Let the Bright Seraphim, the oratorio's most famous aria, was excellent.
The Courier & Advertiser
Nov 2013 : Rodelinda, Scottish Opera
The cast was led by a glowing, authoritative Rodelinda in Sarah Power, who had a bright, pearly texture to the top of her voice and sounded marvellous in the more reflective arias, such as Ritorna, oh caro ...
Simon Thompson,
Nov 2013 : Rodelinda, Scottish Opera
Young Irish soprano Sarah Power in the title role captures both the strength and fragility of Rodelinda and her superb clear soprano rang out from the stage.
Neil McEwan, ****
Oct 2013 : Rodelinda, Scottish Opera
There’s some beautiful singing from Sarah Power as Rodelinda: the Irish soprano has an easy, natural voice and an unfussy stage presence to match.
Kate Molleson, The Guardian
Oct 2013 : Rodelinda, Scottish Opera
Irish soprano Sarah Power, as flame-haired as the publicity shots suggested, relished the central role and sang with a beautifully pure voice ... At the heart of the opera there was the exquisite duet between Rodelinda and Bertarido, soprano and counter-tenor voices inter-twining – the musical highlight of the evening.
David Smythe, ****
Oct 2013 : Rodelinda, Scottish Opera
Sarah Power brings a lovely purity to the title role ...
The Scottish Daily Express
Oct 2013 : Rodelinda, Scottish Opera
It was a staggering performance … the audience left feeling distinctly elated after witnessing a really great musical experience … the soloists were superb in every way … their vocal technique and intonation were flawless and their acting ability quite breath taking.
Inverclyde Now
Sep 2013 : Rodelinda, Scottish Opera
Sarah Power’s Rodelinda, sung with a glowing youthfulness … her duet with Andrew Radley as Bertarido (I Embrace You) is as moving as the heart of this opera should be.
The Herald ****
Sep 2013: Rodelinda, Scottish Opera
Sarah Power’s Rodelinda was lit by a gentle radiance ...
Ken Walton, The Scotsman
Sep 2013 : Rodelinda, Scottish Opera
Sarah Power's Rodelinda, reminiscent of a pre-Raphaelite redhead, used her bright, personable soprano with unfailing taste and technical ease - supremely so in her mesmeric Act 3 aria of despair, a fitting climax to the whole performance.
Andrew Clark, Opera Magazine (December 2013 Edition)
Apr 2013 : Atalanta, Cambridge Handel Opera
Atalanta was sung by the soprano Sarah Power, who projected warmth of character and bright vocal tone, and who exuded energy and competence as the boar-slaying princess ... The two Atalanta-Meleagro duets were delightful.
Sandra Bowdler, Opera Magazine (July 2013 Edition)
Apr 2013 : St. John Passion, RTÉ National Symphony Orchestra, National Concert Hall, Dublin
... a tonal quality that seemed perfect for Bach.
Michael Dervan, The Irish Times
Mar 2013 : Brahms' Requiem, Exeter Philharmonic Choir
Sarah Power’s singing of this movement was particularly beautiful, enhanced – if one may say so – by the touching expressiveness of her lovely face.

I know that my Redeemer liveth ... was exquisitely sung.
Paul Teal,
Feb 2012 : Recital as part of the 'Concerts in the West' Series, Ilminster Arts Centre, Somerset
There were overwhelming moments ... Sarah’s technique - with personality - in Gounod’s Ah! Je veux vivre was sensational. The Dublin-born singer always engaged the listener.
Anthony Pither, Basildon Recorder
Oct 2011 : Gianni Schicchi, Wexford Festival Opera
Daniel Joy convinces with a powerful tenor and Sarah Power with a beautiful soprano voice.
Dabei überzeugt Daniel Joy mit einem kräftigen Tenor und Sarah Power mit einem schönen Sopran.
Thomas Molke, Online Musik Magazin
Aug 2011 : Rigoletto, Diva Opera, Festival de la Vézère, Brive
Above all, Sarah Power captivates and lights up the evening. This russet-haired Irish girl with translucent skin and luxuriant tresses possesses a very assured technique. She corresponds ideally to a young Gilda, elevated by the purity, the freshness and the honeyed tones of a naturally beautiful voice with pianissimos to die for. [Her] astounding agility and mature resolve ensure a wonderful end [to the evening].
Et en tout premier lieu, Sarah Power enchante et illumine la soirée. Cette Irlandaise rousse à la peau diaphane et à la chevelure abondante possède une technique très sûre. Elle correspond idéalement à une Gilda juvénile magnifiée par la pureté, la fraîcheur et le miel d’une voix naturellement belle aux pianissimos à se pâmer. L’agilité stupéfiante et la détermination toute en maturité font également merveille dans la dernière partie.
Catherine Jordy,
Dec 2010 : Messiah, Leeds Philharmonic Chorus & Manchester Camerata
All of the soloists were excellent but the palm should go to soprano Sarah Power for her heavenly radiance in the recitatives and air, Rejoice greatly.
Geoffrey Mogridge, Ilkley Gazette and Wharfedale & Airedale Observer
Sep 2010 : Falstaff, Diva Opera, Festival de la Vézère, Brive
The women form a fine quartet, from which stands out the fresh and spicy Nanetta Sarah Power, exquisite Queen of the Fairies.
Les commères forment un beau quatuor, dont se détachent la Nannetta fraîche et piquante de Sarah Power, exquise reine des fées.
Simon Corley,
Apr 2010 : Kathleen Ferrier Singing Competition Final
The Irish soprano Sarah Power gave a radiant, word-lively recital of Bellini, Stravinsky, Poulenc, Martin and Strauss ... Her sheer full-hearted exuberance of communication doubtless won the jury’s heart.
Hilary Finch, The Times
Apr 2010 : Kathleen Ferrier Singing Competition Final
A spectacular performance by the other Irish soprano, Sarah Power, of the final scene of “La Sonnambula”. After a lambent Andante her Amina woke up in no uncertain terms, scaling the heights as she headed back towards the reprise of “Ah non giunge” and avoiding any hint of shrillness. It deserved to be acclaimed.
Richard Nicholson,
Mar 2010 : Handel Singing Competition Final
The final artist of the evening was soprano Sarah Power. For me ... she was by some way the most promising artist with a large but agile voice and excellent platform presence. Opening with Ginevra's “Volate, amori” from Act 1 of Ariodante she gave a pretty much faultless performance ... For her second aria she gave Morgana's “Credete al mio dolore” from Act 2 of Alcina ... with some breathtakingly beautiful singing.
Sebastian Petit, Opera Britannia
Jul 2009 : Fauré's Requiem, King's Lynn Festival
Sarah Power's fresh, clear soprano was meticulously placed in the Pie Jesu.
Michael Drake, Eastern Daily Press
Jun 2009 : The Wandering Scholar, Glasthule Opera
Both John Molloy as the priest and Sarah Power as Alison thoroughly enjoyed playing out their antics and possess beautiful, promising voices.
Wolfgang Marx, Irish Theatre Magazine
Jun 2009 : Le nozze di Figaro, National Opera Studio Showcase
... partnered by Sarah Power, whose flowing, unforced singing of Susanna's 'Deh vieni' gave much pleasure.
Margaret Davies, Opera Magazine (August 2009 Edition)
Nov 2007 : Die Zauberflöte, Guildhall School
I liked the action-girl Pamina, dressed in T-shirt and shorts, finely sung by Sarah Power and acted with commitment; her aria ‘Ach, ich fuhl’s’ was an expressive musical peak.
Margaret Davies, Opera Magazine (February 2008 Edition)
Nov 2007 : Die Zauberflöte, Guildhall School
Sarah Power ... sang beautifully, and with considerable animation, touching the heart as well as stiffening the sinews, and she is assured great success in the future.
Matthew Boyden, Classical Source