Ms. Mattox made her professional debut with Seattle Opera as Feodor in their acclaimed production of Boris Godunov. The Seattle Times said that "…it was newcomer Sarah Elouise Mattox, in the ‘pants role’ of Boris’ son Feodor, who raised eyebrows all over the Opera House with her believable, lifelike acting and her well-schooled voice." In Cleveland, the Beacon Journal declared her "…a rich-toned mezzo-soprano who came to life as Dorabella."

A sought-after concert soloist, Ms. Mattox has appeared several times with the Seattle Symphony. In Copland’s Eight Poems of Emily Dickinson for mezzo-soprano and orchestra, Mattox impressed the audience "…with sensitive singing, a warm, expressive voice and clear diction," hailed the Seattle Post-Intelligencer. She has also been a soloist with the Seattle Symphony for Beethoven’s Symphony No. 9 and Schumann’s Das Paradies und die Peri, as well as the September 11th Mozart Requiem tribute performance. Additionally, she has appeared with many other regional orchestras, including the Portland Chamber Orchestra, the Jefferson Baroque Orchestra, the Salem Chamber Orchestra and the Cascade Festival of Music.

A champion of new music, Ms. Mattox premiered Morgan’s Lament, a scena for mezzo-soprano and ensemble written by Angela Turley. She has also enjoyed success in various contemporary opera roles such as The Witch in Richard Brooks’ Rapunzel, Thyrsis in Bern Herbolsheimer’s Aria da Capo and The Mother in Menotti’s children’s opera The Bride from Pluto. Ms. Mattox composed and performed her first song cycle, Fragments of a Portrait, in the Sunriver Music Festival’s Fireside Concert series. Her second song cycle, Scenes from Childhood for voice and violin, was performed in a chamber recital in Seattle.

Upcoming events include concert and oratorio appearances and the title role in Rorem's opera 'Bertha' with Black Box Opera Theater. Her website is at www.sarahmattox.com