Donna Elvira, Don Giovanni - Virginia Opera & Arizona Opera

“Sarah Larsen gifts us with masterful singing as Donna Elvira. Her grand, majestic entrance is as chill-inducing as intended.” - Rebecca Evans, WHRO/PBS, November 5th, 2018

“Among the scorned lovers, Sarah Larsen rises as a standout in the role of Donna Elvira. Her powerful mezzo-soprano is lush and authoritative. She glides smoothly between lovesick and cynic without sacrificing tonal quality. Heroic and heartbreaking, she possesses a presence that grounds the action when chaos otherwise reigns.” - Kelle Long, Broadway World, November 11th, 2018

“Sarah Larsen as Donna Elvira, entirely conflicted in her feelings for Giovanni, is a tightly bound ball of anguish, anxiety and fear that never uncoils. As Leporello sings of the amazing quantity of Giovanni’s conquests, Larsen masterfully goes through 50 shades of mortification. Her vocals are riveting and passionate throughout.” - Andy Garrigue, Richmond Times-Dispatch, November 17th, 2018

"Sarah Larsen sang Donna Elvira’s music with taste and technical excellence as she encompassed the character’s mix of strong emotions. Her “Mi tradi’ was a delight." - Maria Nockin, Opera Today, March 16th, 2016

Photo by Duane Tinkey

Photo by Duane Tinkey

Prince Orlofsky, Die Fledermaus - Des Moines Metro Opera

“Sarah Larsen fielded a rich voiced Orlofsky who was sexually ambiguous in more ways than one.” - Mark Thomas Ketterson, Opera News October 3rd, 2018





Jan Arnold, Everest - Lyric Opera of Kansas City 

"Sarah Larsen humanized a pregnant Jan... There are simply no edges to her voice; that mezzo was all warm, organic liquidity and an absolute powerhouse in “The Huddle” scene." - Sarah Tyrrell, KC Metropolis, November 12th, 2017






Mercédès, Carmen - The Santa Fe Opera

“Sarah Larsen's sultry mezzo made Mercédès stand out” –  Heidi Waleson, The Wall Street Journal, August 4th, 2014

“As the characters Mercedes and Frasquita... Their polished, ringing voices resonate easily through the open-air auditorium, navigating with ease the leaping passages of the trio. Opuszynski displays beautiful legato as she introduces the themes, and Larsen’s round, lustrous tone follows her lines effortlessly." -  Jason Vest, Classical Singer Magazine, July 2014



Secretary, The Consul - Seattle Opera

“Sarah Larsen's eloquently sung Secretary subtly showed her unfeeling-functionary front to be protective armor through glimpses of core humanity” – Mark Mandel, Opera News, February 22nd, 2014

“And so is most memorably Sarah Larsen, who just finished a run as the sexy Maddalena in the company’s “Rigoletto,” and has now made a triumphant return as the heartless Secretary who finally develops doubts about the chilling bureaucracy she implements.” – Melinda Bargreen, The Seattle Times, February 24th, 2014

“Larsen looked and sounded every inch the 1950s bored bureaucrat. Only toward the end do we see a spark of humanity. From her slingback heels, form-fitting uniform and aggressive hairdo, to her utterly uninterested command for the “Next!” poor supplicant, Larsen nailed the role.” – Philippa Kiraly, City Arts Online, February 24th, 2014

“Magda appeals to the consulate for papers to allow her, her child, and her mother (an               emotionally nuanced Lucille Beer) to join her husband when he is forced to leave the country, but is given the bureaucratic runaround by the Secretary (a sizzling then broken Sarah Larsen).”  – Rebecca Brown, The Stranger,  February 26th, 2014


Maddalena, Rigoletto - Seattle Opera 

"... a terrific Maddalena, rich-voiced and opulently sultry as she succumbed to the Duke. " - Melinda Bargreen, Seattle Times, January 13th, 2014

“As his sister and partner-in-crime Maddalena, Sarah Larsen channels a touch of Carmen, working out an entire character transformation in the course of her one scene.” - Thomas May, Memeteria, January 13th, 2014

“As Sparafucile’s sister, Maddalena, Sarah Larsen was a curvaceous and confident siren, luring men irresistibly to destruction." - Maggie Larrick, Queen Anne News, January 14th, 2014





Stéphano, Roméo et Juliette - Des Moines Metro Opera

"Sarah Larsen's Stéphano combined good stage presence with a supple mezzo, yielding a stylishly sung and imaginatively acted Que fais-tu, blanche tourtourelle ." - James Sohre, Opera Today, July 8th, 2013

"But of all the supporting roles, the [mezzo] soprano Sarah Larsen shines brightest in the trouser role – or tights role, rather – of Stephano...It’s a small but pivotal role, and Larsen makes the most of it." - Michael Morain, Des Moines Register, June 24th, 2013





Suzuki, Madama Butterfly - Seattle Opera & Berkshire Opera Festival

"Sarah Larsen gave Suzuki a poignant, handsome middleweight mezzo timbre; she made the loyal servant’s observations and duties deeply moving." - David Shengold, Opera News, October 30th, 2016

"Sarah Larsen, a striking...Suzuki, sang with real strength and character...she was clearly audible in the Act II trio with Sharpless and Pinkerton, which is not always the case with mezzos cast in this role, and she blended well with Butterfly in the flower duet."  - John F. Hulcoop, Opera News, May 5th, 2012

“Sarah Larsen's compassionate Suzuki and Doug Jones' watchful Goro completed a superb roster of principals.”   - Bernard Jacobson, The Seattle Times, May 6th, 2012

“I was most impressed by Seattle Opera Young Artist Sarah Larsen who sang Suzuki. The empathy and emotions of her role helped buoy Butterfly, and added to this terrific performance.”  - Jackson Holtz, The Daily Herald, May 7th, 2012 

“Sarah Larsen, a Seattle Opera Young Artist, played Suzuki, and her relationship to Racette’s Cio-Cio-San was believable. Her performance had maturity and depth. She is well worth watching as her career takes off.”  - Margaret Higginson, The SunBreak, May 9th, 2012  

“Mezzo-soprano Sarah Larsen, a 2011-2012 Seattle Opera Young Artist, is a strong performer who can express volumes without a single note. As Butterfly’s maid, Suzuki, Larsen’s body language spoke her empathy for and fierce protectiveness of her mistress even when she sang not a word.” - Maggie Larrick,  The Queen Anne News, May 9th, 2012 

“But the hidden gem of the show was young artist Sarah Larsen as Butterfly’s loyal maid Suzuki: smart, succinct and with a sultry mezzo that belied her demure demeanor.”  - Rosemary Ponnekanti, The News Tribune, May 18th, 2012 


Charlotte,  Werther      Seattle Opera YAP, Photo by Alan Alabastro

Charlotte, Werther - Seattle Opera Young Artists Program 

“Larsen also has a beautiful voice, her middle and lower registers particularly rich. She too has a difficult role to put across, the chaste, gentle woman doing her duty and concealing a love for this importunate young man, and she acts it well.”  - Philippa Kiraly, The Sun Break, November 21st, 2011





Neris, Medea   The Glimmerglass Festival, Photo by Julia Cervantes

Neris, Medea - The Glimmerglass Festival 

“Larsen was just as riveting as Deshorties, able to project both loyalty to her mistress and horror at what she knew was to come. She sang confidently and she projected easily into the hall. She should have a strong career.” - David Rubin, CNY Café Momus, July 10th, 2011

“As Neris, Medea’s maidservant and caregiver to her children, Young Artist Sarah Larsen sang superbly and deserves extra credit for acting…" -  David Browning, Opera Pulse, August 3rd, 2011 

“Sarah Larsen’s interpretation was soulfully exquisite.”  -  Seth Lachterman, New York Arts, August 14th, 2011

“Meanwhile, the evening’s most highly polished and attractive vocalism as such came from one of the festival’s Young Artists, mezzo Sarah Larsen, soon to join Seattle Opera. Her Neris provided superb line and dark tone and proved deeply moving in ‘Solo un pianto.’ ” -  David Shengold, Gay City News, August 18th, 2011 

“But the show’s most affecting performance was delivered by Sarah Larsen who, as Neris, touched our hearts with her deeply felt aria. Ms. Larsen has a plummy, ripe mezzo that rang out with secure, plangent tones.”  -  James Sohre, Opera Today, August 19th, 2011 

“Sarah Larsen, a Young Artist, achieved a pure, classical line in Neris's music, allowing her to portray the maidservant's compassion without descending into bathos.” -  Fred Cohn, Opera News, October, 2011


Sarelda,  The Inspector     Wolf Trap Foundation

Sarelda, The Inspector - The Wolf Trap Foundation

“Sarah Larsen, a mezzo capable of considerable tonal nuance, likewise chomped effectively on some scenery as Sarelda.  - Tim Smith, Opera News, April 27th, 2011 

“Sarah Larsen...savored the words, rolled around the stage and got a lot of laughter from the audience.”  - Anne Midgette, The Washington Post, April 28th, 2011

“Ms. Larsen’s comic talent, husky voice, and perfect diction all helped deliver the goods in this sensational scene.”  - Terry Ponick, The Washington Times, April 29th, 2011

“Mezzo-soprano Sarah Larsen brings a rich, powerful voice to the role of his ambitious wife."  - Mike Silverman, The Associated Press, May 2nd, 2011

“Near the end of Act I, Sarelda, the mayor's wife, sung by the dynamic mezzo Sarah Larsen, rhapsodizes at great length about the different kinds of shoes, hats and gowns...”  - Heidi Waleson, The Wall Street Journal, May 3rd, 2011