Sarah Sweeting
Dramatic Mezzo Soprano
Reviews
"The Act 2 confrontation between Wotan and Fricka (Sarah Sweeting) is tough battle of wills. Sweeting swept on looking a million dollars in a glamorous gown (by Harriet Oxley) and clever horned headpiece. Her formidable presence was magnified by an implacable mezzo which sported a chill in the lower depths that would freeze any opponent. Wotan is an impossible dog to keep on the porch but this Fricka knew precisely how to bring him to heel" (Limelight -Melbourne Opera - Fricka - Die Walküre)
"In terrific from, Sarah Sweeting rises to the meatier material of Die Walküre. As the enraged and emboldened Fricka practically tears shreds from long unfaithful husband Wotan, Sweeting pours forth with Fricka's simmering rage, singing with innate technicality and gleaming silver tone" (Simonparrismaninthechair - Melbourne Opera - Fricka - Die Wlaküre)
"As Fricka, Sarah Sweeting was immensely potent. Her mezzo-soprano is a volatile instrument which commands the stage and accepted no excuses from her husband. She portrayed the all-knowing, imperious goddess superbly, matching Warwick Fyfe's power and energy to make a magical vocal duo" (Concertonet - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting's Fricka was a flawless essay in hauteur and chilling self-righteousness" (Opera Magazine UK - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting's shrewish and domineering Fricka gave Wotan no chance to win their argument, it was imperiously sung" (Seenandheard International - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting was a terrific Fricka, looking fabulous and singing beautifully. Fricka can be hard to make sympathetic but here we were shown clearly the logic of her position. Imperious in her victory but also vulnerable" (Ephemeralwhispering - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting, equally commanding as the Fricka she first sang in last year's Rheingold, had a clear, strong, mezzo which forcefully conveyed her arguments - even the sky darkened with storm clouds as she entered - and demanded to be heard. Poor Wotan really had no chance!" (Bachtrack - Melbourne Opera - Fricka - Die Walküre)
Sarah Sweeting was an effortlessly commanding Fricka, physically and vocally" (Operagazet - Melbourne Opera - Fricka - Die Walküre)
"Lush and eye-catching mezzo-soprano Sarah Sweeting leaves no stone unturned as defender of marriage and Wotan's indomitable wife Fricka, gliding across the marble with poise and potency" (Artsreview - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting's Fricka, embodied all her character's hauteur and chilly sense of self-righteousness" (ABR - Melbourne Opera - Fricka - Die Walküre)
"Sporting Fricka's snake-like headress, Sarah Sweeting channels her inner Joan Collins to spit out Fricka's jealous venom. A solid match for Fyfe, Sweeting sings up a veritable storm as the dysfunctional partners bicker and bitch" (Simonparrismaninchair - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting neatly captures Fricka's mood with her controlled mezzo and formal gestures" (Limelight - Melbourne Opera - Fricka - Die Walküre)
"Sarah Sweeting "superb!" (Sydney Morning Herald - Melbourne Opera - Fricka - Das Rheingold)
"As Wotan’s wife Fricka, mezzo-soprano Sarah Sweeting colours her lovely vocals with a plaintive longing, as befitting a woman fearing for the life of her sister" (Simon Parris - Man In The Chair - Melbourne Opera - Fricka - Das Rheingold)
"The strong, yet beleaguered Fricka of Sarah Sweeting.....The interaction between this central couple, who represent a major thematic element of the Ring Cycle in the tension between freedom and lawfulness, is difficult to pull off without Fricka being played to the trope of the nagging wife. Sweeting’s Fricka perfectly draws forth this tension in Wotan, showing us the undercurrent of chaos in all his thoughts and deeds. The nuanced and layered interaction is aided by Sweeting’s sweeping vocal performance, which effortlessly cuts a swath through the challenging score" (Stagewhispers - Melbourne Opera - Fricka - Das Rheingold)
Sarah Sweeting’s Fricka was poised and imposing, juxtaposing the frantic struggles of her sister Freia sung by Lee Abrahmsen." (ConcertoNet.com - Melbourne Opera - Fricka - Das Rheingold)
"Sarah Sweeting performed with warmth and clarity as Fricka" (Australian Book Review - Melbourne opera - Fricka - Das Rheingold)
"Sarah Sweeting and Lee Abrahmsen whose voices were strong and true, easily filling the theatre, were first rate as Fricka and Freia" (Opera Magazine UK - Melbourne Opera - Fricka - Das Rheingold)
"As Fricka, Sarah Sweeting's firm, rounded and admirable even vocal production was suitable assertive" (Classic Melbourne - Melbourne Opera - Fricka - Das Rheingold)
And a tweet!
Sarah Sweeting’s Fricka in
#DasRheingold is a revelation: a gleaming, golden powerful voice that still manages cut-crystal clarity of speech. From the back of the dress circle, I had a ‘Wow, that’s a true #Wagnerian singer’ moment when she sang. Thrilling!
"Sarah Sweeting's exacting and powerful Orturd is a Lady Macbeth clinging to the dark elements of the old German pantheon" (The Australian - Melbourne Opera - Ortrud - Lohengrin)
"Yet the outstanding figure in the principal quartet was Sarah Sweeting’s Ortrud. The extended duet of recrimination and revenge that opens the second act gave this singer plenty of scope as she manipulated her husband and laid the groundwork for Elsa’s downfall. Indeed, it is hard to recall any part of the production that succeeded as powerfully as Ortrud’s Entweihte Gotter! exhortation, launched at the audience with sense-heightening aggression.
"Sweetings second bout of vituperation in this act, beginning at Zuruck, Elsa! proved engrossing, the notes articulated with exemplary precision and barely leashed ferocity" (Clive O'Connell - Melbourne Opera - Ortrud - Lohengrin)
"Sarah Sweeting as Brangäne continued her impressive series of Wagnerian roles with Melbourne Opera: Venus in their 2016 Tannhäuser; Ortrud in their 2017 Lohengrin. She has a warm, secure mezzo voice, is a fine actress as well, and brought a winsome concern for Isolde’s welfare to her role" (Wagner Society NSW)
"The evil and crazed Ortrud who mezzo soprano Sarah Sweeting conjures with magnificent, threateningly carved and luscious-voiced cunningness" (Herald Sun - Melbourne Opera - Ortrud - Lohengrin)
"Sweeting (a misnomer in this instance) draws on her considerable theatrical experience to revel in wickedness and give the likes of Lady Macbeth a run for their money" (Limelight - Melbourne Opera - Ortrud - Lohengrin)
"Friedrich's wife, Ortrud was given an outstanding performance in both presentation and a wonderful mezzo soprano, very clear enunciation and a pleasure for the audience" (Peter Kemp - Melbourne Opera - Ortrud - Lohengrin)
"Sweeting was the full package here, forcefully manipulating her stage husband with a dramatic voice and flashes of shapely leg" (Classic Melbourne - Melbourne Opera - Ortrud - Lohengrin)
"Australian soprano Sarah Sweeting returns to the Melbourne Opera stage as the devilishly driven Ortrud. Performing the role like Katisha but looking like Yum Yum, Sweeting is as commanding in her use of body language as in her deceptively gorgeous vocals" (Man in the Chair - Melbourne Opera - Ortrud - Lohengrin)
"Sarah Sweeting is especially captivating as the sinister Ortrud, singing with glorious power and venom, and a commanding onstage presence" (Theplusones - Melbourne Opera - Ortrud - Lohengrin)
"English mezzo-soprano, Sarah Sweeting, adopts a mature sound as Brangäne, Isolde's devoted maid. In the significant, yet somewhat thankless role, Sweeting graciously subverts her own stage presence to support the two leads, still delivering a vocal performance of focused, unflagging quality. (Man in the Chair - Melbourne Opera - Brangäne - Tristan and Isolde)
"As Brangaene, Sarah Sweeting's rich mezzo voice urges caution and concern which are never to be headed. Hers becomes a desperate, driven picture of a devoted companion pushed to the limits of her love and initiative" (Concertonet - Melbourne Opera - Brangäne - Tristan and Isolde)
"Sarah Sweeting's dark- hued and intuitive Brangaene" (OperaChaser)
"Animated performance by Sarah Sweeting as hapless meddling maid Brangäne added a much needed dramatic thrust to the company's Wagnerian shards of death, desire and suffering" (The Australian - Melbourne Opera - Tristan and Isolde)
"All lithe and limb and secure in voice with a penetrating top, Sarah Sweeting swooned seductively as Venus" (Herald Sun - Melbourne Opera - Venus - Tannhäuser)
"Sarah Sweeting was magnetically persuasive as Venus" (The Australian - Melbourne Opera - Venus - Tannhäuser)
"Wagnerian voices are hard to come by, so it was not surprising that imports were required, and they were both worth importing. Sarah was a very sexy Venus with a big voice" (Stagewhispers - Melbourne Opera - Venus - Tannhäuser)
"Soprano Sarah Sweeting sizzles as a seductive siren Venus" (Simonparrismaninchair - Melbourne Opera - Venus - Tannhäuser)
"Sarah Sweeting made a beguiling Venus, singing and acting with seductive allure" (Classicmelbourne - Melbourne Opera - Venus - Tannhäuser)
"Sarah Sweeting's Venus, sounding like a seasoned temptress...." (Bachtrack - Melbourne Opera - Venus - Tannhäuser)
"Venus, the Goddess of Love, was portrayed by Sarah Sweeting who captured the Goddess with aplomb. A delightful performance sang with a mature and well done alto" (PK Theatre - Melbourne Opera - Venus - Tannhäuser)
"Sarah Sweeting's Donna Elvira is every inch the jilted bride and uses her strong soprano voice to advantage when trying to win Don Giovanni back" (Stagewhispers - Co*Opera - Donna Elvira - Don Giovanni)
"Sweeting, our soprano soloist was tremendous, her solo was melancholy and torn"
(Arts Hub - Willoughby Symphony Orchestra - Die Erste Walpurgisnacht)
"As the Zelatrice, (or Monitor), Sarah Sweeting is extremely effective here - a cane-wielding monster of discipline and scourge of the convent with a clarion voice to make young women shake in their shoes!" (Limelight - Harbour City Opera - The Monitor - Suor Angelica)
"Sarah Sweeting was the perfect kill joy as the bitter and twisted Monitor" (Sounds like Sydney - Harbour City Opera - The Monitor - Suor Angelica)
"Sarah Sweeting was well up to the challenging role of wife caught between duty to husband and faithfullness to lover. She was also vocally in her element, with chocolaty warmth in the lower register and a delightful spin providing life to the top" (Limelight - Harbour City Opera - Sieglinde - Walküre - Wagner and Mozart Make a Scene)
"The card trio was the most effective piece of the evening with Sweeting's ice cold 'en vain pour eviter les reponses ameres, cutting through the sweet texture of the two soprano's" (Oxford Mail - Carmen)
"Ms Sweeting was tantalisingly sensual throughout, revealing a voice of musicality and warmth" (The Evening Post - London Opera Festival - Carmen)
"Sarah Sweeting's Melissa was intensely appealing and accessible" (Crikey - Ondine Productions - Melissa - La Liberazione Di Ruggiero)
"Strong support comes from Sarah Sweeting, a tender Annina" (Theatre People - Opera Australia - Annina - La Traviata)
"Sarah Sweeting is very good with her emotional filled mezzo" (Parterre - Opera Australia - Annina - La Traviata)
"Sweeting is a glamorous Orlofsky with a big vibrant contralto that raised yet another cicada chorus" (The Age - Opera Queensland - Orlofsky - Die Fledermaus)
"Sarah Sweeting revealed a lovely mezzo character voice which can be very flexible and expressive" (Opera Opera - Opera Queensland - Orlofsky - Die Fledermaus)
"Sarah Sweeting as Prince Orlofsky, the elegant host of the ball, whose creamy and flexible voice was given full rein" (The Western Advocate - Opera Queensland - Orlofsky - Die Fledermaus)
"Sarah Sweeting is a fabulous discovery to the main stage" (Blaze - State Opera South Australia - Alma March - Little Women)
"Sarah Sweeting, a recent arrival to Australia, was heart rendering as Marmee, Alma March" (Independent Weekly - State Opera South Australia - Alma March - Little Women)
"Sarah Sweeting was particulary good as the mother of the girls. Her voice has sweetness combined with a steady tone" (Opera Opera - State Opera South Australia - Alma March - Little Women)
"A portrayal which pleased especially is Sarah Sweeting's magnificently sung Countess (The Echo - Travelling Opera - Countess Almaviva - The Marriage of Figaro)
"In particular, Sarah Sweeting was a poignant and lovely Countess, immaculately acted...." (Manchester Evening News - Travelling Opera - Countess Almaviva - The Marriage of Figaro)
"Sarah Sweeting was a mettlesome Liu, meltingly floating high notes in Signore Ascolta, urgent and impassioned in Tanto amore segreto...." (Opera Now - Opera Holland Park - Liu - Turandot)
"Sarah Sweeting as the femme fatale was vibrant and vivacious, everything opera should be....passionate, audacious and stirring" (Opera Now - Musetta - La Boheme)
"Sarah Sweeting's vivid performacne as Musetta dominated...." (The Advertiser - Musetta - La Boheme)
"Stealing the show was Sarah Sweeting's Musetta" (The London Evening Standard - Barbican Hall - Musetta - La Boheme)
"It is Sarah Sweeting in the title role, I could listen to her all night, who captures eye and ear" (The Telegraph - Carl Rosa Opera - The Belfast Grand - Iolanthe)
"Effortlessly elegant excellence of Sarah Sweeting as Phoebe...." (The Telegraph - Carl Rosa Opera - The Belfast Grand - Phoebe - Yeoman of The Guard)
"Sarah Sweeting is a fine voiced fragrant feisty Phoebe" (The London Evening Standard - Opera Holland Park - Phoebe - The Yeoman of The Guard)
"Sarah Sweeting is a hearty Pitti Sing" (The Express - Carl Rosa Opera - Barbican Hall - The Mikado - Pitti Sing)