Title role "Carmen"

Title role "Carmen"

"Tamara Gura as Carmen fulfills every fantasy imaginable-from freedom- loving woman for the female audience, to a more erotic embodiment for the male audience. The US born mezzo-soprano delivers this youthful portrayal with great vocal maturity." Frankfurt Neue Presse

"Tamara Gura offers a very youthful and physically ideal embodiment of the main role . The uninhibited gesture and emotional assaults directed towards herself and others were very convincing. Vocally, she offers a beautiful middle register and effortless high notes." Frankfurt Rundschau

"Tamara Gura in the role of Carmen is truly a wild animal. She seems to always know what will happen next."
Frankfurt Allgemeine Zeitung

"Tamara Gura is a vocally confident Carmen, with sublime mezzo tones... She masterfully accompanies herself in her dance and castanet scene in the second act with the improvised fragments of a broken plate."
Opernwelt, July 2016

"With her dark-timbred voice, Tamara Gura gives a truly compelling role debut as Carmen."
Hessischer Rundfunk

"Tamara Gura portrays the role with masterful acting, and sings at a very high level."Morgenweb.de

"Tamara Gura's dark toned mezzo gleams. She avoids the eye rolling and hip swinging clichés one associates with Carmen , making her presence and performance all the more authentic." Darmstadt Echo

"Tamara Gura shines in her debut in the title role."
Darmstaedter Tagblatt

"A temperamental, feisty, freedom-loving Carmen" Vorhang auf

Isabella in "L'italiana in Algeri"

Isabella in "L'italiana in Algeri"

"Absolutely a voice which remains in your memory. Isabella- tremendously erotic...Tamara Gura acts masterfully and is a wonderful mezzo soprano who is also able to deliver this eroticism through her voice."(Deutschlandradio Kultur, Uwe Friedrich)

"The best, and that in every regard is Isabella, the american born Tamara Gura, who has worked her way in the last years into the highest league of mezzos. Whoever hears and sees her onstage inmediately can tell why."
(Online musik magazin)

"Onstage, Tamara Gura as dream woman Isabella wears a gold bikini and a mini skirt, but musically she wears the pants and brandishes the riding whip. Possessing the ideal vocal timbre, expression and stamina, her interpretation of Rossini's music comes very close to (legitimate) vocal anarchy, while others stick to the traditional ornaments. Only Tamara Gura jumps from octave to octave, flies up/down/sideways, even in the middle of phrases. She trumpets, languishes, and entices."(Die Deutsche Bühne, Roland Dippel)

"Tamara Gura dazzles with mezzo coloratura and delightful acting."
(Süddeutsche Zeitung, Wolfgang Schreiber)

"Mezzo soprano Tamara Gura makes the most of her coloratura...the most exuberant high notes serve the drama and are presented with pristine, flawless technique. She also has absolutely no problem with stamina, singing "Pensa alla patria" absolutely effortlessly at the end of the opera.
She takes control, fueling the men's testosterone into overdrive with her model figure, wearing only a lace bra and string." (Opernwelt U. Friedrich)

"Tamara Gura sparkles as the sexy Isabella, who looks just as seductive in banana bikini as in her glitter dress." (Bayerische Rundfunk, Peter Jungblut)

"Tamara Gura, the italian girl Isabella turns not only the heads of Taddeo and her other male suitors, but also immediately those of the audience, with her sonorous mezzo voice, her stunning stage presence, and her spontaneous acting."
(Der neue Merker, Christoph Karner)

"Tamara Gura...the wonderfully timbred, absolutely secure, and with sex appeal in abundance, leaping around the stage... marvellous in every respect." (Dr Joachim Lange, Oper! Das Magazin)

"In the title role, Tamara Gura's rich-voiced mezzo along with her body merited admiration." (Anthony Ogus, Opera Now)

"Isabella is played by Tamara Gura, who purrs and coos her coloratura with tremendous sensuality. This Isabella is a fascinating character, who knows how to put her feminine charms to good effect in every way, including vocally, to entice the men. She totters on high heels in a string and fine lace underwear, bewitching her captor ." (Uwe Friedrich, Deutschland Rundfunk)

"Ravishing, above all, Tamara Gura as the incredibly sensual Isabella."

"Beautiful mezzo voice, secure technique and stylistically convincing...pleasurable in all registers, moving from one to the other with no break. High notes, octave jumps and variations... Gura excelled and distinguished herself with this." (operalounge)

"The young Tamara Gura as Maitresse de jeu clearly has an exceptional career ahead of her." (Thüringer Allgemeine)

Dorabella in "Cosi fan tutte"

Dorabella in "Cosi fan tutte"

"Dorabella is played with joyous abandon by mezzo-soprano Tamara Gura. Her Act I aria 'Smanie implicabili' is a glorious display of inflated, histrionic 'suffering'." (Denver Post, July 2017)

"Tamara Gura was an affecting Dorabella, singing with a darker color that distinguished her from her steelier sister. She didn’t just sing her signature aria, 'Smanie implacabili', she embodied it. (Boulder Weekly July 2017)

"Gura's Dorabella made the most of her solo turns, notably in an anguished but controlled “Smanie implacabili." (Opera news, October 2107)

"First rate Dorabella" (Opera)

Olga in "Eugene Onegin"

Olga in "Eugene Onegin"

"Tamara Gura was strong as Olga, sung with a smoky tone and a charcoal timbre with a pleasant sense of teasing in her voice."
Dominic Lowe, Bachtrack

"Tamara Gura shone as the over-eager Olga." Fiona Maddocks, The Guardian

"Tamara Gura's ebullient Olga" Rupert Christiansen, The Telegraph

"Tamara Gura's playful Olga" Fine Times Recorder

Interview *Orpheus Magazine* November/December 2015 issue

Interview *Orpheus Magazine* November/December 2015 issue

Tamara Gura speaks about performing her signature role of Cenerentola in Munich, under the stage direction of the wonderful Brigitte Fassbaender.

Link to interview Orpheus

Title role "La Cenerentola"

Title role "La Cenerentola"

Festival of the Aegean

"Tamara Gura sang the role of Angelina with deep, well-grounded, velvet voice." (Constantine P. Carambelas-Sgourdas)

"Like Cecilia Bartoli, she has a dark voice with a textured contralto sound, comfortably passing into vibrant and impressive coloratura, as demonstrated in the final aria Non più mesta" (Dimitri Kiousopoulos, Andro)

Munich Cuvillies Theater November 2015 ; staging: Brigitte Fassbaender

"The cast was led by outstanding Tamara Gura, a mezzo-soprano with a velvety timbre and an abundance of vocal richness and volume in the character of Angelina. Her coloratura are skillfully executed, the sound is very well projected and covered...set to become one of the most important Cinderellas of the moment."
(Opera World, November 2015)

"Tamara Gura is a delicious Angelina, whose confident vocals culminate in her vocal prowess of 'Nacqui all'affanno'" (paperblog.fr November 2015)

Theater Erfurt 2013/4

"Tamara Gura captivates the audience not only with her high notes, but most of all with the low, velvety tones of her crystal clear mezzo. Her voice and coloratura flow effortlessly and with lots of volume. Such a voice is like a precious fine wine,that one would like to enjoy more often."(Thomas Janda, Der neue Merker, 23 December 2013)

Jumping in last minute, Tamara Gura gave the large arc of the role of Cenerentola- from her simple song at the beginning to her glorious virtuosic triumphant final aria all with sparkling beauty. (Thüringer Allgemeine, December 23,2013)

What a voice! Not first by her two final arias Tamara Gura assured the strongest applause of the whole evening. (Insüdthüringen, 23 December 2013)

Tamara Gura stands out in the title role with exquisite voice.(J Stadter, TLZ, December 23, 2013)

Tamara Gura's voice as Cenerentola unfolded beautifully into the coloratura final aria -a true work of art and bravura. Gura's interpretation of the song in the second act also made clear her fine abilities as a lyric singer.(Amusio, 24 December 2013)

Mozarteum Orchestra tour 2012

"The role of Cenerentola with its wonderful but treacherous coloratura passages has become a show piece for virtuosic mezzos. Tamara Gura masters these vocal demands with bravura, and throughout the whole opera ,as well as in the final rondo, she is effortlessly a match for the the greatest mezzos of this repertoire.
The slender, attractive young singer has a dramatic alto voice in the low range and also possesses a full sounding, beautiful middle voice, and seems destined for the great dramatic roles."
(Günter Greb, Nordbayern.de December 8,2012)

Salzburg Landestheater 2011/2

"Tamara Gura as Angelina, the angelic stepsister, has my unqualified admiration. A lovely, gentle personality with a voice which speaks straight to the heart, and, when necessary, fills the entire theater, rich-sounding with never any hint of hardness. On top of this, she convincingly embodies the different facets of the character, from mistreated young girl to triumphant princess."(Der Neue Merker, January 2012)

"Tamara Gura possesses a velvety dark voice and an effortless technique. Her legato is confidently on the breath; her coloraturas precise pearls, delivered with flair.. The dark colour of Tamara Gura's voice will happily be ringing in our ears for some time to come." Heidemarie Klabacher, Drehpunktkultur (9 December,2011)

"Both guests find special favor with the audience: the graceful, refined and flexible even in the lowest ranges of her role Tamara Gura as Angelina."Karl Harb, Salzburger Nachrichten (9 December,2011)

"The deep silky voice of Tamara Gura gives the title role of Angelina/ Cenerentola the essential melancholy, from which the liveliest joy for life can spurt out,like a fountain in the castle gardens."
Heide Marie Klabacher, Drehpunktkultur (2 April, 2012)

"Cinderella, the spectacular Tamara Gura, leaves nothing to be desired. Her underdog character mirrors itself in her exquisitely beautiful, but also melancholic Mezzo voice, with a lush and rich low register, and admirable high notes. (Der Neue Merker, FR Dreyer, May 2012)

Tamara Gura sings the title role ravishingly; in all high and low registers. She even sings the most difficult coloratura with virtuosity."(Epoch Media, 12.12.2011)

"Tamara Gura's exhilaratingly sung coloratura built up to a magnificent vocal firework display in the finale "Nacqui all'affanno"" Diana Roßberg,Operapoint (9 December,2011)

"The role of Cenerentola is sung by Tamara Gura. Her timbre is so dark and warm, it sounds almost like a contralto. Her powerful lyricism is most impressive."APA (9 December,2011)

"The slender Tamara Gura sings her coloratura virtuosically!"
Heidi Maria Mueller, Dorfzeitung (9 December, 2011)

Title role "Ariodante"

Title role "Ariodante"

Aalto Theater Essen Conductor: Matthew Halls

TAMARA GURA in the title role was simply a sensation. The elegant American, of whom there is a film portrait on YouTube, possesses a mezzo voice as agile as it is expressive, and whose warmth, fullness and roundness movingly captures not only the expression of grief(Ariodante believes he has been betrayed by Ginevra and seeks death), but is also able to express flaming joy and jubilation
Der neue merker - Christoph Zimmermann 19. April 2014.

For this role, she was named as best singer by the reviewer Christopher Zimmermann (Der neue merker, Opera London) Link to Die Welt:Best Singer article

Gura delights as Ariodante with a warm-timbred mezzo and wonderfully flexible coloratura. Her big aria, "Scherza infida" represents a high point of the evening in which she movingly gives expression to her deep sorrow over the apparent betrayal of Ginevra. In the third act she impresses with absolutely heroic sounds.
Online Musik Magazin Thomas Molke www.omm.de

Tamara Gura indulges in jubilant coloratura- and beguiles shortly after with the warm intensity of her mezzo-soprano timbre in the great aria "Scherza infida" in which Ariodante succumbs to his grief.
Kultur Nord Rhein Westfalen Elisabeth Elling

The premiere is a singer fest. Stepping in for the title role, Tamara Gura shines not only with emotionally charged coloratura storms, but also gives grandeur to her mezzo in the Lamento.
Westdeutsche Allgemeine Zeitung Dirk Aschendorf

At the premiere Tamara Gura convinced with her optimally grounded mezzo, fantastic register changes, frenzied coloratura, and dreamy, fantastic internalisation. This is how a baroque trouser role is brilliantly sung by a woman.
Martin Freitag Deropernfreund

The role of Ariodante was convincingly portrayed by Tamara Gura. She gives a heartbreaking reading of "Scherza infida" with attention to dynamics and text expression and delivers the runs in Dopo notte effortlessly.Go opera

Tamara Gura is a triumph in the role of Ariodante. She sounds like a hero in her exuberantly sing arias. (Trouw, Amsterdam)

Salzburg Landestheater Conductor: Christian Curnyn

Tamara Gura as Ariodante is a revelation! Had she only sung one aria, she would have been the star of the evening. I am referring to the long, full of desperation "Scherza infida", the central aria of the opera. Stupendous vocal technique, stamina and concentration alone would not guarantee a success, were it not for the exhilarating expressivity of this singer."
FR Dreyer, Der neue merker Juni 2013

"Ariodante's aria „Scherza infida“ lasts for 10 minutes... Tamara Gura sings (not only) this scene believably, movingly with primal, dark intensity Karl Harb, Salzburger Nachrichten
29 April, 2013

"Tamara Gura stands out vocally. The American, in the pants role of Ariodante, delivered her arias with such masterful ease and flawless vocal clarity that it was a joy."
APA, 28 April, 2013

"Tamara Gura dazzles, both dramatically and vocally, in the pants role of Ariodante. She delivers the treacherous coloratura with effortless elegance"
Florian Oberhummer, SVZ, 29 April 2013

"Tamara Gura brings all of the colors of her dark and velvety iridescent timbre to the role of Ariodante... Deep low notes and an effortless middle range were crowned by smooth shining highlights in the high register.
HeideMarie Klabacher, Drehpunktkultur , 29 April,2013

"Mezzo-soprano Tamara Gura's outstandingly sung aria "Scherza infida" was the musical highlight of the performance."
Elisabeth Aumiller, Reichenhaller Tagblatt 29 April, 2013

"Tamara Gura possesses an exquisite vocal timbre and wins favor with the audience in her Bravour aria „Scherza infida“. Her coloratura are crystal clear."
(HC Mayer, DNM April 2013)

"The title role is proudly entrusted to Tamara Gura (already heard in Karlsruhe at a very high level in the title role of Radamisto). She delivers her Bravour arias "Con l'ali di costanza" and "Dopo notte" with great charisma."
(Ruggero Meli, Resmusica April 26, 2013)

Sesto in "Giulio Cesare" Semperoper Dresden

Sesto in "Giulio Cesare" Semperoper Dresden

"Tamara Gura convincingly portrayed the adolescent son of Cornelia, Sesto Pompeo with her delightful voice. She mastered her demanding arias perfectly, including the last one at breakneck speed. In the duet with Christa Mayer as Cornelia, the two beautiful voices blended ideally." Ingrid Gerk ,Der neue Merker (Feb 22.2015)

"Exhilaratingly sung and smartly played the trouser role (Sesto ) by the young contralto Tamara Gura"
Boris Gruhl (Dresden neuste Nachrichten)

Debut in Munich as Angelina in "La Cenerentola"- stage direction Brigitte Fassbaender

Debut in Munich as Angelina in "La Cenerentola"- stage direction Brigitte Fassbaender

Article from Der neue Merker
Orfeo in Gluck's "Orfeo ed Euridice"

Orfeo in Gluck's "Orfeo ed Euridice"

With her beautiful mezzo and without false sentiment, Tamara Gura offers a convincingly grieved but determined Orfeo... A standing ovation that is fully deserved (Klassiek Centraal, May 16,2015)

Cherubino "Le Nozze di Figaro"

Cherubino "Le Nozze di Figaro"

Central City Opera, USA Debut:

"Mezzo-soprano Tamara Gura is perfectly cast as the page Cherubino. Gura's physical comedy is a delicious sight, and even when the character is famously dressed as a girl, she maintains the illusion so effortlessly it is genuinely easy to forget this is a female actor playing a boy. Gura even inflects her voice in an incredibly appropriate way."
Kelly Dean Hansen, Colorado Dailycamera June 2014

"Central City Opera's charming season-opening production of Le Nozze di Figaro boasted a consistently solid, committed cast that did Mozart proud... Tamara Gura looked properly boyish as Cherubino, making the most of "Non so più" and offering a touching "Voi che sapete".Opera magazine UK October 2014"

"The well-meshed cast was top notch from top to bottom...Mezzo-soprano Tamara Gura, a terrific comic actress, made the most of the bratty Cherubino." Opera News, October 2014

"Tamara gura shines in her USA and CCO debut in the trousers role of Cherubino."
Bob Bows, Colorado Drama July 2014

"Tamara Gura was excellent from her first entrance, moving with all the awkwardness of a teenager. I found her unusually convincing throughout, and her aria “Voi che sapete" was especially charming."
PeterAlexander, Sharpsandflatirons.com July 2014

"As for the vocalizing, it was a long list of good things that warrants specific call-outs to all the majors: Anna Christy, Michael Sumuel, Edward Parks, Sinéad Mulhern, Tamara Gura." R.M. Rinaldi, Denver Post July 2014

"Tamara Gura’s CCO debut in the trouser role of Cherubino did not disappoint. This artist is blessed with a great set of pipes and her playful acting of the role is endearing."
David Marlowe, Marlowe's musings Jluy 2014

"Tamara Gura brings her fine contralto to the role of Cherubino."
Westword Denver, Juliet Wittman July 2014

"Tamara Gura's 'Non So Piu' was lusty and hilarious." Operagasm July 2014

Staatstheater Karlsruhe

"Above all, it is the silky smooth singing and playful acting of Tamara Gura, a wonderful Mozart singer, as Cherubino that stands out.
(January 22, 2011, Die Rheinpfalz)

"Tamara Gura is an erotic Cherubino and gives a wonderful portrayal of the young page, whose charm is perfectly expressed through her supple, dark timbred and youthful mezzo voice."
(January 17 2011, BNN)

Maddalena in "Rigoletto"

Maddalena in "Rigoletto"

Haus fuer Mozart, Salzburg

"The daring Tamara Gura as the provocative and beautiful Maddalena."(Wiener Zeitung, October 26,2014)

"Tamara Gura as Maddalena makes a strong impression both vocally as well as visually."(Reinhard Kriechbaum, Drehpunktkultur, 27 October,2014)

"The role of Maddalena (Tamara Gura) was in good vocal hands...She wore her suspenders skilfully, with the pseudo elegance of a periferal prostitute."(Peter Skorepa, Der neue merker, 29 Oktober)

"Tamara Gura as Maddalena...high quality casting."(Gert Korentschnig, Kurier, Oktober 31,2014)

"Tamara Gura took on the erotic staging demands of Maddalena with absolute ease. Also vocally, she filled the role masterfully with her sensual and deep mezzo soprano."
(Ludwig Steinbach, Deropernfreund)

"Tamara Gura as Maddalena was impressive with a very dark mezzosoprano, Her voice sounds quite strong and has a very beautiful tone. She also made a good impression in her sexy outfit and was able to deliver this sexiness also through her vocal performance."
(Operatic musicologist)

Hermia in "A Midsummer Night's Dream"

Hermia in "A Midsummer Night's Dream"

Teatro dell'opera di Roma

Tamara Gura stood out with her beautiful mezzo-soprano color and individual timbre. (Drammaturgia) June 2012

The female lovers left nothing to be desired...Tamara Gura, who manages to perform effortlessly through the entire range of her voice.(Opéraforum) June 2012

Tamara Gura stood out as Hermia with her genuine mezzo-soprano quality. (La voce di Romagna) June 2012

The lovers were all excellent. (Ellie Dehn, Tamara Gura, Shawn Mathey) (Italiasera)

Dorabella in "Cosi fan tutte"

Dorabella in "Cosi fan tutte"

Salzburg Landestheater, Mozarteum Orchestra

"Tamara Gura's Dorabella showed her strength for lyric power and blended wonderfully with Fiordiligi."
(Reinhard Kriechbaum, Wiener Zeitung 21 January, 2013)

Tamara Gura's unique dark timbre as Dorabella blended wonderfully with Fiordiligi. Her Smanie implacabili, gave the impression of a half crazy person who would never survive without her lover. She brought the required eroticism to the role!
(Der neue merker, January 2013)

"Tamara Gura and Simon Schnorr stood out. Their voices are effortless, rich in nuances and shades, and are perfect for Mozart."
(Florian Oberhummer, SVZ 21 January, 2013)

Staatstheater Karlsruhe

Tamara Gura as Dorabella was convincing, with her breezy, comedic acting as well as her differentiated and sophisticated singing. (Die Rheinpfalz December, 2009)

Tamara Gura as Dorabella leaves nothing to be desired: Her well-produced, colorful Mezzo comes as easy and naturally as Dorabella's willingness to accept the changing circumstances of love.(Pamina Magazin December 2009)