Sarah Tucker, Soprano

Sarah Tucker

SOPRANO

Sarah Tucker's interpretation of Pamina had both delicate innocence and rich emotional depth, and I was blown away by her ability to sing extreme pianissimo – kudos to the orchestra as well for matching the dynamic range with sensitivity.
Emmeline MacMillan CVNC Arts Journal
As Fiordiligi, soprano Sarah Tucker also shows her range and vocal power in the challenging first act aria “Come scoglio,” then exhibits her coloratura skills in the famous “Per pietà” aria.
Pam Kragen San Diego Union Tribune
Sarah Tucker, a vocally glorious Micaëla in the company’s well-received Carmen, gave Fiordiligi a passionate drive that illuminated her character, notably in her famous aria of fidelity “Come scoglio.”
Ken Herman San Diego Story
With gleaming high notes and powerful phrasing, Sarah Tucker’s glorious Act III aria Je dis que rien ne m’épouvante brought ferocious applause from the Civic Theatre audience...
Ken Herman San Diego Story
Sarah Tucker was a graceful Adina with a beautifully rounded, well-supported soprano that meshed perfectly...
Allan Kozinn Opera News
Sarah Tucker portrayed an absolutely riveting Micaëla, balancing lovely tone and delivery with a well-rounded character of virtue, beauty and gumption.
Sara Neal The Utah Review
Sarah Tucker’s bright and eager soprano was an asset to the cast as Jano.
Flâneur lyrique OperaTraveller.com
Tucker’s portrayal refutes the old trope that “good” equals “boring”; her Micaëla won over Saturday’s audience with her polite but firm assertion of her boundaries in the first act and her deft handling of Don José in the third. She sang both scenes beautifully.
Catherine Reese Newton The Salt Lake Tribune
Sarah Tucker’s Micaëla also stood out. Her gleaming soprano, long blond braids and simple dress cried innocence amidst the morally ambiguous surroundings. Her passionate “Je dis que rein ne m’épouvante” showed impeccable pitch and phrasing.
Robert Coleman Opera News
Also making standout debuts are soprano Sarah Tucker, with her heart-rending and soulful performance as Micäela, the virgin country girl Don José discards in his lust for Carmen...
Pam Kragen San Diego Union-Tribune
But if Sarah Tucker is singing it, every note is something special. She has one of the loveliest soprano voices I have heard in years and she brings great depth of feeling to a part that is so often tedious.
David Gregson Opera West

ABOUT SARAH TUCKER

Described by Opera News as a “standout” with “impeccable pitch and phrasing” and hailed by San Diego Story for her “gleaming high notes and powerful phrasing,” soprano Sarah Tucker is captivating audiences nationwide with her radiant voice, expressive artistry, and engaging stage presence. Critics have praised her performances as “vocally glorious” (San Diego Story), “heart-rending and soulful” (Pacific San Diego), and “one of the loveliest soprano voices I’ve heard in years” (Opera West).

In the 2025–2026 season, Ms. Tucker will sing the Countess in Le nozze di Figaro with Amarillo Opera, returns to Fargo Moorhead Opera for her much-anticipated role debut as Violetta in La traviata, and makes her house debut with Madison Opera as Fiordiligi in Così fan tutte,

Recent seasons have brought a rich mix of house and role debuts: Mimì in La bohème with San Diego Opera; Micaëla in Carmen with Virginia Opera and Sarasota Opera; Liù in Turandot with Gulfshore Opera; Pamina in Die Zauberflöte with North Carolina Opera; Adina in L’elisir d’amore with Dayton Opera and Opera Maine; and Freia in Das Rheingold with Virginia Opera. She also appeared with Houston Grand Opera in Another City and with the Dayton Philharmonic to premiere Reena Esmail’s My Sister’s Voice.

A frequent and celebrated presence at San Diego Opera, Ms. Tucker first debuted there as Micaëla in Carmen—earning ovations for her “glorious Act III aria… [which] brought ferocious applause” (San Diego Story)—and returned as Fiordiligi in Così fan tutte, hailed for “movingly articulated” (Opera Magazine) and vocally brilliant performances. Her recent portrayal of Mimì in La bohème there was praised for its poignancy and “lovely soft voice, its higher-register notes firm and perfect” (Broadway World).

Her career includes notable engagements with major U.S. companies: Santa Fe Opera (Echo in Ariadne auf Naxos), San Francisco Opera (Jano in Jenůfa), Opera Philadelphia (First Memory in Lembit Beecher’s War Stories), The Dallas Opera (Frasquita in Carmen), Intermountain Opera (Tatyana in Eugene Onegin), and Utah Opera (Micaëla in Carmen).

Equally at home in lyric and lirico-spinto repertoire, Ms. Tucker has been recognized for the beauty and emotional depth of her portrayals—whether delivering a “stunningly realized” (Kentucky.com) performance of Tavener’s Song of the Angel, a “sweet and strong” (Naples News) Mimì, or a Pamina of “delicate innocence and rich emotional depth” (Cultural Voice of North Carolina).

A graduate of the University of Cincinnati College-Conservatory of Music (CCM), a Santa Fe Opera Apprentice and former member of the Arizona Opera Studio, Ms. Tucker was a National Semifinalist in the Metropolitan Opera National Council Auditions and has received top honors in numerous national vocal competitions.