Carty was a revelation in arias by Mozart and Berlioz. What was once a mezzo voice on the lighter side has matured into a mellower tone that was simply lovely in the Mozart but breathtakingly gorgeous in the Berlioz (La spectre de la Rose).

Sunday Business Post Lunchtime Choice Concert RTECO July 13

“An der Spitze des jungen Sängerensembles brillierte Sharon Carty mit ihrem geradezu sensationellen Rollendebut als Dido”

Dido and Aeneas Oper Frankfurt 20113, Der Opernfreund

“Von den Sängern/innen vermochte in erster Linie Sharon Carty zu begeistern, die nicht nur darstellerisch durch sehr gefühlvolles Spiel alle Facetten des Oscar zog, sondern diesem mit wunderbar vollem und rundem, bestens italienisch focussiertem und emotional eingefärbtem Mezzosopran auch gesanglich ein sehr berührendes Profil verlieh.”

Oscar und die Dame in Rosa, Theater Freiburg Jan 2014

But what made this recital special was the way this partnership captured the inner aspects of the songs, from the ecstasy of Ganymed to the serenity of Du bist die Ruh. Adjectives seem inadequate for such focused, intelligent artistry.

Schubert song recital with Jonathan Ware, The Irish Times, 3rd March 2015,

The star among the other vocal soloists was mezzo soprano Sharon Carty, who was firm in tone, expressively to the point and with an almost instrumental sureness of delivery.

(St.Matthew Passion Irish Times 8th April 2015)

 Vocally, however, the evening belongs to mezzo Sharon Carty, who sings with assurance and authority, nowhere less so than in the plangent aria ‘Lascia la spina’ (the music of which Handel re-used in his opera Rinaldo for the lament ‘Lascia ch’io pianga’), which is easily one of the evening’s highlights. Her sparkling agility also comes to the fore in faster movements.

Michael Lee, Goldenplec.com April 2015 (Il trionfo del Tempo e del Disinganno)

Carty stands out as Ottone, the work’s most sombre character, with the fervent firmness of her singing.

Irish Youth Opera Agrippina, Irish Times, 10th Sept 2015