"The company's artistic director Vivian Coates both directed and designed this imaginative staging, which had an outstanding cast...Sarah Richmond and Eimear Harper created a delightful pair of siblings"

Opera Magazine
Hansel, Hansel and Gretel, Lyric Opera Ireland

"There was a health warning before the new opera which we needed as this no holds barred examination of war and prejudice showed just where we are in the human condition, ie not a good place. Starting with a magnificently sung female role, modern woman if you like, who in mezzo Sarah Richmond’s hands is not likable but utterly relatable. We hear her outline her IBS in pretty, Brittenish melismatic writing. She favours raspberry and cranberries in juice, a pretty rare libretto but this disconnect indicates Mitchell’s subject matter, the dissonance of our times."

Jane Hardy, The Belfast Times
Helen, The Headless Soldier, The Belfast Ensemble

"Richmond's solo monologue performance in part one of the opera was just delightful, delivering Ravenhill's deeply acerbic text - deeply in as much as it was simmering below the surface of genteel amiability - with wonderful inflection and timing that was matched by Mitchell's complementary score."

Noel Megahey, Opera Journal
Helen, The Headless Soldier, The Belfast Ensemble

"Rosina is possibly the most demanding role; she must appeal to the audience while also demonstrating the grit that enables her to survive Bartolo's abuse. Mezzo Sarah Richmond excelled in the part: her intelligent singing conveyed the determination of her character, and her consistently supple and finely shaped coloratura portrayed the kaleidoscope of feelings endured by her character. Brava."

Sarah McCleave, Opera Now
Rosina, Il barbiere di Siviglia, Ulster Touring Opera

"Sarah Richmond brought an infectious exuberance and sense of fun to the role of Rosina, and she played off the other cast members well."

Robert Beattie, Seen and Heard International
Rosina, Il barbiere di Siviglia, Ulster Touring Opera

"...the sheer inventiveness of Waley-Cohen's wonderfully tactile sonorities said it all, especially when performed by this team (Sarah Richmond's strobe-light mezzo in the first Spell would be a knockout opening to any show)."

Richard Bratby, Midlands Music Review
Spell for Lilith/Spell for Logic, Spell Book, Longborough Festival Opera

"The singers all demonstrate searing virtuosity in this often panicked music, particularly Sarah Richmond as the voice of Lilith, who convincingly executes various gasps, cries, shouts and sighs which transcend ordinary musical discourse, around the razor-sharp precision of her more conventionally sung, if angular, passages"

Curtis Rogers, Classical Source
Spell for Lilith/Spell for Logic, Spell Book, Longborough Festival Opera

"Sarah Richmond's appeal to Lilith for a world in which magic facilitates female freedom confidently embraces danger and deviancy"

Claire Seymour, The Stage
Spell for Lilith/Spell for Logic, Spell Book, Longborough Festival Opera

"Of the other soloists, mezzo-soprano Sarah Richmond stands out especially, playing all the other female characters with calm intensity."

Michael Lee, Golden Plec
DUP Voices, Abomination: a DUP Opera, The Belfast Ensemble

"Rebecca Caine's Iris, and Sarah Richmond as a DUP member, could sing the phonebook, or cobbled media quotes, and make them hypnotic."

Chris O'Rourke, The Arts Review
DUP Voices, Abomination: a DUP Opera, The Belfast Ensemble

"It is imaginatively staged and very well performed. Sarah Richmond, a compelling Boy, conveys his outcast status perfectly. What we get is a battle of the egos, one fully developed - The Girl, and one which grows into something not quite as expected as the story unfolds - The Boy. He stops being the victim and turns into the predator. The piper in the end has to be paid for playing his tune."

William Russell, Reviews Gate
The Boy, The Musician, The Belfast Ensemble

"The Musician is the only Northern Irish opera created in lockdown, and is an impressive show, both vocally and visually. Sarah Richmond commands the stage as The Boy as he grows in character and chooses his path in life."

K Herrington, From Page to Stage
The Boy, The Musician, The Belfast Ensemble

"Sarah Richmond as The Boy features in almost every scene and is pleasing and emphatic in her use of facial expressions and vocal tone to make us really invest in her character."

Emma Littler, West End Best Friend
The Boy, The Musician, The Belfast Ensemble

"Filmed at the Lyric Theatre, with atmospheric lighting and vivid back projections, it looks and sounds fabulous. Mitchell has assembled an intriguing line-up...Sarah Richmond's appealing, spindley legged Boy."

Jane Coyle, The Stage
The Boy, The Musician, The Belfast Ensemble

"A woman, played by soprano Rachel Goode, muses on the good things in her life but is subjected to negatives thoughts and and doubts, which are given voice by mezzo-soprano Sarah Richmond. We watch the woman's image start to fragment into two distinct images as the negative self starts to take form. Goode's voice is nicely suited to the bright fresh positive side of the self. Richmond's voice being lower and darker creates an excellent contrast, especially when the two voices combine."

Alan Neilson, Opera Wire
Conscience, Rupture, Irish National Opera

"Exploding expectations and showing remarkable innovation, 20 Shots of Opera delivers extraordinary moments of music, singing and staging...Psychological states find voice in Ena Brennan's Rupture, which might initially evoke a Disney lightness, before everything splits to become a recognisable nightmare, the layered singing sounding superb"

Chris O'Rourke, The Arts Review
Conscience, Rupture, Irish National Opera

"Sarah Richmond verleiht der Titelpartie mit intensivem Spiel eine bewegende Tiefe. Glaubhaft verkorpert sie die junge aufstrebende Karrierefrau, die in der tragischen Fassung von einem brutalen Mann gebrochen wird. Ihr Mezzosopran verfugt uber ein kraftiges Timbre und grosse Strahlkraft in den Hohen"

"Sarah Richmond gives the title role a moving depth with intense play. She believably embodies the young aspiring career woman who is broken by a brutal man. Her mezzo-soprano has a powerful timbre and great radiance in the highs."

Thomas Molke, Online Musik Magazin
Lucrece, What Happened to Lucrece, Wexford Festival Opera

"...the focus remained on the flat, a humdrum setting which truly came alive when we saw Luce dealing with the aftermath of rape. This was filmed so that we saw only her face, reflected in a mirror, a powerfully cinematic effect that made the most of the online medium...but it was Sarah Richmond's performance as Lucrece that pulled things together. Her voice was bright and clear, her acting wholly convincing, not least in the Tragedia finale. Perhaps Synnott and his collaborators had set themselves an unnecessarily difficult task: the Tragedia option on its own would have been powerful enough."

Nick Kimberley, Opera Magazine
Lucrece, What Happened to Lucrece, Wexford Festival Opera

"The star of the show was mezzo-soprano Sarah Richmond in the title role. It was her vehement resistance in the final and most persuasive version, and her aria of recovery, which showed her at her best"

Michael Dervan, Irish Times
Lucrece, What Happened to Lucrece, Wexford Festival Opera

"Under the musical direction of Carmen Santoro...expertly sung, updated, youthful and funny."

Fiona Maddocks, The Guardian
Meg Page, Falstaff, Wexford Festival Opera

"Auch Sarah Richmond uberzeugt als Meg Page mit grossem Spielwitz."

"Sarah Richmond also convinces as Meg Page with great wit."

Thomas Molke, Online Musik Magazin
Meg Page, Falstaff, Wexford Festival Opera

"Wexford has assembled a fabulous cast, led by Villari's astounding Guglielmo... The rest of the cast was no less wonderful"

Mark Pullinger, Bach Track
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"With a particularly attractive young widow in Sarah Richmond delivering a feisty and very well sung performance"

Brian Dickie
Madame Popova, The Bear, Wexford Festival Opera

"British humour is expressed in William Waltons bittersweet social drama, The Bear, based on a vaudeville by Anton Chekov. Freshly widowed, Yelena finally falls in love with tempestuous Smirnov, a creditor of her deceased husband after having intensively quarrelled with him. Set up in noble English interior design and noble British upper class behaviour by Kyle Lang, Sarah Richmond as Yelena and Rory Musgrave as Smirnov offer a very entertaining hour musically."

Helmut Pitsch, Opera Online
Madame Popova, The Bear, Wexford Festival Opera

"Di umore completamente diverso le altre due operine in atto al Clayton Whites Hotel, "L'orso" di Walton dalla commedia di Cechov, che contava su un trio di giovani ma spigliatissimi interpreti (Sarah Richmond, Rory Musgrave e Ashley Mercer) sulle cui spalle poggiava interamente l'esile produzione di Kyle Lang."

Stefano Nardelli, Giornale della Musica
Madame Popova, The Bear, Wexford Festival Opera

"Mezzo soprano Sarah Richmond from Northern Ireland caught the eye in the role of Willie in Guglielmo Ratcliff, which became the opera of choice for the many thousands which attended the 64th festival...Her character is pivitol to the opening of Act 2 of Pietro Mascagni's tragedia in four acts, when the innkeeper Tom asks her character, Willie, (his son) to recite The Lord's Prayer. Demonstrating her skill as an actress of instinct, Richmond repeatedly stumbles over 'Lead us not into temptation'."

Tom Mooney, The Echo
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"Sarah Richmond performed nicely as Willie"

Jose Irurzun, Seen and heard International
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"Bien también Sarah Richmond come Willie"

José M Irurzun, Beckmesser
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"Quentin Hayes und Sarah Richmond runden das Ensemble als Tom und sein Sohn Willie, stimmlich wunderbar ab, so dass es am Ende großen Beifall für alle Beteiligten gibt."

Thomas Molke, Online Musik Magazin
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"The supporting cast, including a chameleonic Sarah Richmond, gilded the production further."

Tom Mooney, therestisjazz.com
Willie, Guglielmo Ratcliff, Wexford Festival Opera

"Mezzo Soprano Sarah Richmond was a nice Suzuki, significantly contributing to the dramatic success of the poignant duet with Madama Butterfly at the start of the second act"

Pia Maltri, The Side Balcony
Suzuki, Madama Butterfly, Lyric Opera

"Opera Collective Ireland revealed the strength and merits of the work in a sharp production that built its grip slowly, examined each of its eight characters forensically, and erupted into an explosive finale...There were impressive performances all round...This opera was chosen partly because of it's meaty roles ir provided for emergent talents Christopher Cull, Sarah Richmond and Roisin Walsh vindicated not just their own performances, but that of Opera Collective Ireland itself."

The Sunday Business Post
Kate, Owen Wingrave, Opera Collective Ireland

"Sarah Richmond was a pert Kate, with well observed bitter touches when Owen refused to go to war"

Opera Magazine
Kate, Owen Wingrave, Opera Collective Ireland

"...the consistently ardent advocacy of the young cast...the vividness of the contribution of the Irish Chamber Orchestra under the alert baton of Stephen Barlow."

The Irish Times
Kate, Owen Wingrave, Opera Collective Ireland

"Iford's small-scale staging meant a return to three individuals, ably sung - albeit practically hidden by their costumes - by Aoife O'Connell, Claire Filer and Sarah Richmond. They were a suitably dark presence, every movement carefully choreographed by Jo Meredith so as to emphasize their other-worldliness."

Rian Evans, Opera Magazine
3rd Witch, Macbeth, Iford Arts

"The Three Ladies (sung by Rachel Croash, Sarah Richmond and Raphaela Mangan) were excellently portrayed, imbuing their characters with plenty of coquetry and fun."

Andrew Larkin, Bach Track
Zweite Dame, Die Zauberflote, Irish National Opera

"The Three Ladies, soprano Rachel Croash, mezzo-soprano Sarah Richmond and mezzo-soprano Raphaela Mangan, prove irresistibly delightful in conveying Mozart's playful humour"

Chris O'Rourke, The Arts Review
Zweite Dame, Die Zauberflote, Irish National Opera

"Rachel Croash , Sarah Richmond and Raphaela Mangan inject comic colour into their riveting performance as the three ladies"

Diana Perez, No More Workshorse
Zweite Dame, Die Zauberflote, Irish National Opera

"The contributions of the Three Ladies - Sinead O'Kelly, Sarah Richmond and Laura Murphy - were outstanding in their sassiness and vocal quality."

Terry Blain, The Belfast Telegraph
Second Lady, The Magic Flute, NI Opera/Nevill Holt

"And then there are the Three Ladies, Sinead O'Kelly, Sarah Richmond and Laura Murphy, who are provokative, completely engaging and not to be crossed, with great characterisation and confidently expressive singing."

David Byers, The Irish Times
Second Lady, The Magic Flute, NI Opera/Nevill Holt

"At the other end of the scale Ruth Jenkins-Robertsson's entrance as The Queen of the Night was spectacularly staged and vocally impressive, as were her formidable Three Ladies"

Keris Nine, Opera Journal
Second Lady, The Magic Flute, NI Opera/Nevill Holt

"There was strong support from a particularly feisty team of Three Ladies - Sinead O'Kelly, Sarah Richmond and Laura Murphy."

Terry Blain, Opera
Second Lady, The Magic Flute, NI Opera/Nevill Holt

"We are captured from the word go as 3 beautiful women pounce on a handsome prince who has been fighting a very huge serpent, faints as the reptile grips his leg and the three girls come to his rescue, stripping off his clothing each lusting after him for herself! The last Magic Flute I saw these three handmaidens of the Queen were big and buxom, by contrast these three girls, Sinead O'Kelly, Sarah Richmond and Laura Murphy, are just the opposite, slim and sexy with terrific voices, some beautiful harmonies in their singing."

Anne Hailes, The Belfast Times
Second Lady, The Magic Flute, NI Opera/Nevill Holt

"Sarah Richmond as both the Second Woman and more significantly the Sorceress clearly defined each part. Where one might picture a wizened hag as a sorceress we were presented with an attractive singer. Her skills as the Sorceress was in conveying the plotting to drive Dido and Aeneas apart and this was wickedness and wicked at one and the same time."

HJ Wetherby Times
Sorceress and Second Woman, Dido and Aeneas, Wetherby Choral Society

"...the feisty, musically alert Nancy of Sarah Richmond."

The Times, Nancy, Albert Herring, RNCM

"Oliver Gooch managed Puccini's transitions from intimacy to animated discussion and unabridled energy with style, and was fortunate in boasting a full blooded vocal ensemble."

Rian Evans, The Guardian Bianca/Gabriella, La Rondine, Iford Arts

"Oliver Gooch conducts the excellent Chroma ensemble and a well chosen cast."

Rupert Christiansen, The Telegraph Bianca/Gabriella, La Rondine, Iford Arts

"...five of whom [the cast] neatly cover twelve supporting roles with panache."

Peter Reid, The Classical Source Bianca/Gabriella, La Rondine, Iford Arts

"The youthful company...was full of high spirits and sparkle."

DG, Fine Times Recorder Bianca/Gabriella, La Rondine, Iford Arts

"The smaller female roles are prettily drawn by Kate Aikens, Sarah Richmond and Celena Bridge."

Charlotte Valori, Bach Track Bianca/Gabriella, La Rondine, Iford Arts

"Mezzo soprano Sarah Richmond and soprano Katarzyna Donaoldska gave perfectly fine performances..."

Glyn Hughes, The Arts Desk
Beethoven's 9th Symphony, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko

"The singing was of a uniformly high from all ten leading roles... Sarah Richmond's clearly enunciated and acted Nancy made a fine pair in both egging Albert on and later worrying that their doctoring of his drink might have had desperate consequences."

Seen and Heard International
Nancy, Albert Herring, RNCM

"There are beautiful vocal contributions from mezzo-soprano Sarah Richmond."

Matthew Bellwood, Some Stories Songs of Spring and Winter, Stretto Records

"... great admiration for the musicality and professionalism of Sarah Richmond... Sarah rose to the challenge, and succeeded above all (as well as singing beautifully) in conveying the intense suffering that underlies the cycle [Lieder eines fahrenden Gesellen]... Sarah conjured ecstasy in 'Das Rosenband'."

Dolgellau Music Club Recital

"...versatility and attention to detail were in evidence in Britten's song cycle A Charm of Lullabies; the piece's sudden theatrical contrasts were kept free of caricature, and the tender humour of the work was well conveyed. ...Richmond's suitably plaintive rendition of 'Dolente imagine di Fille mia' was particularly engaging ...delivered with youthful zest and self evident enjoyment, qualities which characterized the concert."

Music at Queen's Recital

"Strength of character, strength of conviction, knowledge about what you are doing, a voice that works flawlessly and absolutely spectacular musicality. You've got it all."

Barbara Bonney
Masterclass, RNCM Concert Hall