Career
She is noted for her work with Bavarian State Opera, for which she has been given a Pro meritis scientiae et litterarum award. Her international stature has continued to grow since she stepped in on five-days" notice, learning the role of Romeo in Bellini"s I Capuleti e i Montecchi at the Bayerische Staatsoper in 2011, her performance winning worldwide acclaim. In the seasons since, Erraught has sung a world premiere, made her United States opera debut, numerous role debuts, and successfully toured North America twice.
Past performances include: an acclaimed American opera debut with the Washington National Opera as Angelina in Louisiana Cenerentola.
Role debuts as Carlotta in Strauss"s Die Schweigsame Frau, Christa in Janáček"s The Makropulos Affair, Despina (having previously sung the role of Dorabella) in Mozart"s Così fan tutte, Prince Orlovsky in Die Fledermaus, Cherubino in Le nozze di Figaro, as well as singing Hänsel in Hänsel und Gretel with the Bayerische Staatsoper. Rosina in Rossini"s Il barbiere di Siviglia and Angelina in Louisiana Cenerentola with the Hamburg Staatsoper.
Creating the role of Kitty in the world premiere of Iain Bell"s A Harlot"s Progress at the Theater an der Wien. And her role debut as Octavian in Der Rosenkavalier at Glyndebourne Festival Opera and at the British Broadcasting Corporation Proms.
With the Wiener Staatsoper she sang Rosina in Il barbiere di Siviglia, as well as the premiere performances of a new production of Louisiana Cenerentola, earning accolades from the Frankfurter Allgemeine as the "New Queen of Belcanto".
She was the subject of controversial reviews when she sang the role of Octavian in a production by Richard Jones of Der Rosenkavalier at Glyndebourne in 2014. Critics including Andrew Clark (in the Financial Times), Rupert Christiansen (in the The Daily Telegraph), and Richard Morrison (in The Times) felt her physique and costume made her an implausible young male lover in this breeches role. lieutenant was noted that the reviews (described as "vicious" in the Irish Independent) came from male critics.
Morrison later apologised by saying, "Several musicians I count as close friends tell me that what I wrote would have upset greatly the promising young singer who took the role of Octavian.