Reviews Guillaume Tell CD, Naxos 3/2015 "Tara Stafford as Jemmy benefits from this version as she gets to perform Jemmy's aria during act three (the cross-bow/apple scene) and she does so in a style which makes her sound very French (think Mady Mesple)." ~Robert Hugill, Planethugill.com
"Tell’s son Jemmy is sung with contrasting sweetness and piquancy by soprano Tara Stafford, who off the stage is the wife of this performance’s Arnold. Jemmy’s air in Act Three, ‘Ah, que ton âme se rassure,’ has often fallen victim to the heinous cuts imposed on Guillaume Tell, but Ms. Stafford justifies its inclusion in this complete-and-then-some performance by singing it winningly. Tell’s wife Hedwige receives from mezzo-soprano Alessandra Volpe a portrayal of integrity and plush vocalism. In reality, her luxurious singing makes the character seem more important than her music suggests that Rossini thought her to be. Ms. Volpe’s voicing of Hedwige’s lines in the Act Four trio with her son and Mathilde, ‘Je rends à votre amour,’ is lovely, but her phrasing of the Prière (also in Act Four), 'Toi, qui du faible est l'espérance,' is stirring. She and Ms. Stafford make an appealing wife and son of whom any Tell would be both protective and proud." -Joseph Newsome, Voix des Artes
Guillaume Tell (Rossini in Wildbad, 07/2013) „Tara Stafford with her svelte, vibrating coloratura soprano is convincing“ Neben dem britisch-amerikanischen Sänger-Dreigestirn überzeugt mit zart tremolierendem Koloratur-Sopran die ebenfalls angloamerikanisch geprägte Tara Stafford (in der Hosenrolle) als Tell-Sohn Jemmy. -Eckehard Uhlig, Die Deutsche Bühne
„a precise role portrait“ Alessandra Volpe als Tells Frau Hedwige und Tara Stafford als Sohn Jemmy lieferten präzise Rollenporträts. -Focus
„a crystalline, clear voice“ Tara Stafford leiht Jemmy (Tells Sohn im Skaterlook) ihre kristallklare Stimme -Werner Müller-Grimm, Stuttgarter Zeitung
„Among the discoveries of this performance are two young singers at the beginning of their careers, but who have without doubt recommended themselves on this occasion for bigger roles and venues: … and Tara Stafford. With her very clear, well-projected coloratura soprano she not only convinced the audience, but also her colleagues.“ … eine fulminante, sich vom stummen Statisten zum Heldensopran steigende Hosenrolle mit Tara Stafford... Zu den Entdeckungen dieser Aufführung dürften zwei junge Sänger gehören, die noch am Anfang ihrer Laufbahn stehen und sich hier eindeutig für Größeres empfohlen haben: der argentinische Bass Nahuel Di Pierro, der mit großer stimmlicher Präsenz den Eidgenossen Walter Fürst sang und in famoser Maske auch den alten Vater Mecthal), sowie die bereits erwähnte Tara Stafford aus Baltimore im burschikosen Punk-Look. Ihr glockenreiner, durchsetzungsfähiger Koloratursopran begeisterte nicht nur die Zuschauer, sondern auch ihre Mitsänger. -Puhlswritinglife Blog
„Tara Stafford with a silvery, youthful soprano voice and beautiful vocal lines.“ Tara Stafford als Jemmy mit silbrigem, jugendlichen Sopran und schöner Stimmführung -Manfred Langer, Der Opernfreund
„Tara Stafford as Tell's son Jemmy possesses a youthful soprano voice.“ Tara Stafford verfügt als Tells Sohn Jemmy über einen jugendlichen Sopran. -Thomas Molke, OMM
„Tara Stafford as Tell's son with her cocky personality and her sparkling, bubbly soprano is enchanting.“ Dafür bezaubert Tara Stafford als Tells Sohn mit ihrer kecken Art und ihrem munter sprudelnden Sopran. -GEA, Reutlinger Generalanzeiger
LaTraviata (SRO Lyric Theatre, 03/2013) "Soprano Tara Stafford-Spyres, the Mimi of SRO’s 2011 “La Boheme,” embodies a very different consumptive heroine here. Violetta changes greatly throughout the course of the opera, as do her vocal requirements. As Act I’s self-assured queen of the demimonde, the soprano negotiates “Ah fors’e lui” and “Sempre libera” with impressive ease, rising to an ecstatic top note that conveys the heroine’s passionate nature.Her downward trajectory is limned in moments both dramatic (“Amami, Alfredo, amami quant’io t’amo!”) and poignant (“Addio del passato”). Stafford-Spyres’ warm vibrato is used to good effect in the latter number, making me wish she had been allowed both verses." -Larry Collins, Springfield News-Leader
Rigoletto (Springfield Regional Opera, 10/2008) "Soprano Tara Stafford offers a naive and trusting Gilda, first in the heartfelt Act One duet that establishes the intense emotional bond between father and daughter, then in the aria "Caro Nome," wherein she praises her lover's name with pure tone and agile coloratura." -Larry Collins, Springfield News-Leader"