Sarah Tynan



Helen Hogh

Fiona Wells

Groves Artists represents Sarah Tynan worldwide


Recently nominated by the Evening Standard as one of the most influential artists in the UK, British soprano Sarah Tynan is well established as one of the most exciting and versatile singers of her generation. She works regularly with many of the leading orchestras, opera companies and ensembles in the UK as well as in Europe and further afield.

Her most recent and future operatic engagements include the title role Lucia di Lammermoor, the title role in Partenope, Rosina / The Barber of Seville, the title role in The Merry Widow, Romilda / Xerxes, Euridice / Orpheus and Euridice and Euridice / Orphée by Glass for English National Opera, Despina / Cosi fan tutte for Opera Holland Park, Fiorilla / Il Turco in Italia for Garsington,  a staged production of Britten / Les Illuminations with the Aurora Orchestra at the Aldeburgh Festival, Pat Nixon / Nixon in China with the Royal Danish Opera, The Governess / The Turn of the Screw for Opera North and the title role in Semele for the Handel and Haydn Society, Boston.

Other previous operatic engagements have included Adina / Elixir of Love, Ilia / Idomeneo, Sophie / Der Rosenkavalier, Tytania / A Midsummer Night’s Dream, Marzelline / Fidelio and Zerlina / Don Giovanni for English National Opera, Merab / Saul for Glyndebourne on Tour,  Luigi Nono’s Al gran sole carico d’amore at the Salzburg Festival, Susanna / Le nozze di Figaro for Cincinnati Opera, Ginevra / Ariodante for Scottish Opera, Cleopatra / Giulio Cesare and Carrie Pipperidge / Carousel for Opera North,  Iris / Semele for La Monnaie, Brussels, Pretty Polly in Birtwistle’s Punch and Judy at Casa de Musica, Dalinda / Ariodante at Opera de Oviedo.  Sarah has performed in three world premieres – Dai Fujikura / Solaris at Théâtre des Champs- Élysées, Opéra de Lille and Opéra de Lausanne, Sharon Disney in Philip Glass / The Perfect American at Teatro Real and ENO and Megan in James MacMillan’s The Sacrifice for WNO, and was awarded the Welsh Theatre Award for Best Female in an Opera Production for her portrayal of Manon Lescaut in Henze’s Boulevard Solitude at Welsh National Opera.

Equally in demand on the concert platform Sarah has a wide concert repertoire including Brahms’ Requiem, Carmina Burana, Mahler Symphonies No 2,  4 and No 8, Haydn Creation, Bach Matthew Passion, Poulenc Stabat Mater, Mendelssohn Elijah, Dallapiccola’s Partita, Tippett A Child of Our Time,  Ryan Wigglesworth’s Augenlieder, Unsuk Chin’s Kala, Handel’s Messiah and Solomon as well as many other oratorios.

Recent and future concert highlights include Vaughan Williams Symphony No 7 with the Philharmonia, Beethoven Symphony No 9 at the Maggio Musicale, Messiah with the Royal Liverpool Philharmonic, The Sixteen and at the Royal Albert Hall,  the Creation with the Scottish Chamber Orchestra at the Edinburgh Festival and the Seasons  with the Gabrieli Consort.

Recordings include Carmina Burana with the London Philharmonic Orchestra and The Creation with the Handel and Haydn Society.


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  • Turn of the Screw, Opera North

    On stage for almost the entire running time, Sarah Tynan is an excellent Governess, her soprano hinting at a whole wave of vulnerability.

    John Murphy The Stage
  • Lucia di Lammermoor at ENO

    It’s left to Tynan, though, to give the show its moments of grace and delicacy. Singing her first Lucia, she deploys a light, silky tone with beautiful flexibility, and there’s an ethereal transcendence about the way she delivers the mad scene, vocally and visually. In a show that often teeters on the brink of gothic-horror parody, hers is a performance to touch the heart

    Richard Morrison The Times
  • Lucia di Lammermoor at ENO

    Tackling the title role for the first time, Tynan sings with a silvery purity of tone and an exquisite sense of line. Her coloratura is admirably liquid, yet always placed at the service of the drama. She can be thrillingly accurate in her upper registers, though in the Mad Scene she replaces the traditional showpiece cadenza with something altogether more thoughtful and darkly expressive.

    Tim Ashley The Guardian
  • Orpheus and Eurydice

    Sarah Tynan’s Eurydice burned with credible human emotions which were delivered with luminosity and strength

    Claire Seymour Opera Today
  • The Merry Widow

    A lovely performance by Sarah Tynan in the title-role. The one character who isn’t costumed circa 1910, she presents instead a 1940s blonde bombshell, suggesting just the right edge of gold-digger cynicism and peasant shrewdness. But not too sharp an edge: her singing touches a fine note of melancholy in “Vilja” and “Lippen schweigen”, both beautifully phrased and enunciated.

    Rupert Christiansen The Telegraph
  • Orfee

    Sarah Tynan’s Eurydice manged to walk the thin line between being simple and sounding anything but. The voice never lacked colour or tonal beauty

    Marc Bridle Opera Today


  • Sarah Tynan to sing two title roles at ENO in 2018/19

    Sarah Tynan to sing two title roles at ENO in 2018/19

  • Groves Artists announce the signing of leading British soprano, Sarah Tynan

    Groves Artists announce the signing of leading British soprano, Sarah Tynan