American mezzo-soprano TAMARA GURA has been hailed as a "stand-out" by the Financial Times, working her way into the "highest league of mezzo-sopranos" (Neues Deutschland). She is gaining international attention for her "velvet-toned mezzo" (Opera), her "dazzling coloratura" (Süddeutsche Zeitung), and her "deeply emotional singing" (Opernwelt).. She is rapidly establishing herself as one of the most exciting mezzos of her generation- "a true stage animal" (Frankfurt Allgemeine Zeitung). Engagements have already taken the young singer to some of Europe's most prestigious opera houses in leading roles, including the Hamburg State Opera, English National Opera in London, the Semperoper in Dresden, Opernhaus Zürich, Gran Teatre Liceu Barcelona, Dutch National Opera, Spoleto Festival, and the Teatro dell'Opera di Roma. Her expansive and versatile repertoire encompasses the leading baroque and bel canto roles, as well as French and German romantic roles, and cutting edge contemporary operas.

"A sensation... a discovery " (Der neue Merker), "terrific comic actress" (Opera news),"vocally and theatrically brilliant" (Süddeutsche Zeitung), "technical mastery"(Drehpunktkultur),"believable, moving, with dark intensity" (Salzburg Nachrichten), "Excellent" (The Times), "first-rate" (Opera) "Gura's deeply emotional singing made time stand still for nearly ten minutes"(Opernwelt)



The 2017/18 season included her debut at the Liceu in Barcelona in "Il Viaggio a Reims", a role debut as Niklausse in "Les contes d'Hoffmann" in Salzburg, an exciting role debut as Adalgisa in "Norma" at the Staatstheater Wiesbaden, a gala concert with Sugi Opera in Seoul, Korea, Alto soloist in Tippett's "A Child of our Time" in Bangkok, a concert of Mozart concert arias in London's Cadogan Hall with Christian Zacharias leading the English Chamber Orchestra and broadcast live for BBC3, the title role in "La Cenerentola" at the Festival of the Aegean in Greece. Highlights of the current 2018/19 season will see her making a debut at the Teatro San Carlo in Naples as Smeraldine in "L'amour des trois oranges", a role debut as Bradamante in Händel’s “Alcina" at Opernhaus Bern, as well as a tour through Switzerland in this role in Zürich and Chur, under the direction of Nickolaus Habjan, as well as a return to the title role of Carmen in New York.

2016-17 engagements included an exciting role debut in the title role of "L'Italiana in Algeri" at the Deutsches National Theater Weimar, in a new production with staging by rising star Tobias Kratzer, as well as a return to the title role in "Carmen" at the Staatstheater Darmstadt after a very successful premiere there last season. (This Carmen was nominated by the prestigious magazine Opernwelt as Best Performance 2016) Other highlights include the title role of "Carmen" in Essen in a staging by Hilsdorf, a return to Teatro dell'opera di Roma as Gymnasiast in William Kentridge's "Lulu" in a co-production with the Metropolitan Opera NY, as well as the title role in "Carmen" in Wiesbaden, and Dorabella in a new production of "Cosi fan tutte" at the Central City Opera Festival in Colorado.

In the busy 2015/16 season, she performed the title role in a new production of "La Cenerentola" with staging by Brigitte Fassbaender in München at the Cuvillies Theater, debuted as Donna Elvira in Salzburg, and gave her much awaited debut in the title role of "Carmen" in a new production by Faust prize winning director Sandra Leupold and conducted my music director Will Humburg at the Staatstheater Darmstadt.

She portrayed Sesto at the Semperoper Dresden under the baton of Alessandro DeMarchi, as well as the title role in Handel's "Ariodante" at the Aalto Theater Essen under the musical direction of Christopher Moulds and Matthew Halls. 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

She was also heard in the title role in "Orfeo ed Euridice" in Antwerp, Maddalena in "Rigoletto" in the Haus für Mozart in Salzburg under the stage direction of Amélie Niermayer, as well as the title role in "Orfeo ed Euridice" at the Staatstheater Wiesbaden under Konrad Junghaenel.

She has worked with conductors such as Nello Santi, James Conlon, Simone Young, Ingo Metzmacher, Stefan Soltesz, Leo Hussain, and Vladimir Fedoseyev, and with baroque specialists such as Alessandro De Marchi, Alan Curtis and Il complesso barocco, Christian Curnyn, George Petrou, Jan Tomasz Adamus and the Capella Cracoviensis, and Andreas Spering. She has also worked with stage directors such as Christof Loy, Christopher Alden, Grischa Asagaroff, Paul Curran, Peter Konwitschny, and Uwe Eric Laufenberg.
Other freelance highlights include her debut under the baton of James Conlon at the Teatro dell'Opera in Rome as Hermia in Paul Curran's new production of "A Midsummer Night's Dream." She was immediately rehired by Maestro Conlon to sing two concerts of music by Zemlinsky as part of the Spoleto Festival. She made her London operatic debut as Hermia in Christopher Alden's new production (which was nominated for an Olivier Award) of Britten's "A Midsummer Night's Dream" at English National Opera. Critics described her Hermia as "standout" (Financial Times), "excellent" (The Times), and "velvet-toned" (Opera).

Following her highly praised debut at the Dresden Musikfestspiele in Gismonda in Lotti’s baroque gem "Teofane", she made a successful debut at the Semperoper in Dresden in the role of Rosina in "Il Barbiere di Siviglia."

Aside from her freelance work, she was a resident soloist at the Badisches Staatstheater in Karlsruhe, Germany, where she interpreted leading roles such as Idamante, Dorabella, Cherubino, Radamisto Rosina, Orlofsky, Sesto, Zerlina, Hänsel, Wellgunde, Rossweisse, Zweite Dame, and Bersi.
She received particular acclaim for her baroque expertise in the title role in Handel's Radamisto at the Karlsruhe Handel Festival - "a brilliant vocal and dramatic performance" (Süddeutsche Zeitung), "beautifully even tone" (Opernglas), "deeply expressive singing that made time stand still for nearly 10 minutes" (Opernwelt).

Immediately following the completion of her BM in voice in the USA, she became a member of the prestigious Opera Studio of the Hamburg State Opera and has returned there to sing as a guest. Roles in Hamburg include Sesto ("Giulio Cesare"), Zaida in Christof Loy's new production of "Il Turco in Italia", Annio, Mercédès, Amore/Valletto in "L'incoronazione di Poppea", Pauline, Flora, Blumenmädchen, 3. Magd, and Gymnasiast in Peter Konwitschny's new production of "Lulu" a role she repeated for the Holland Festival.

Tamara was born in the USA to a family of Polish, Italian descent. From early childhood she had lessons in dance, voice, piano and theater. Ms. Gura received her musical training in the USA and participated in masterclasses with Elizabeth Schwarzkopf, Kurt Moll, and Ileana Cotrubas. She was the winner of a Metropolitan Opera National Council Award, a Semans Art Fund Grant for Foreign Study in Salzburg and was chosen by Eva Wagner-Pasquier to be part of the Académie européenne de musique in Aix-en-Provence.
Beyond her work on the operatic stage, she is also an active concert singer, particularly in the Baroque repertoire. She debuted in France with Il Complesso Barocco in Gluck's "Le Cinesi", with Alan Curtis conducting. She also sang at the concert hall in Thessolaniki the role of Vagaus in Vivaldi's "Juditha Triumphans" under the musical direction of George Petrou. She appeared as Maddalena with the Combattimento Consort in Amsterdam under the direction of Jan Wilhelm de Vriend and sang Piacere in Il Trionfo del Tempo e del disinganno at the Handel Festival in Karlsruhe under the direction of Andreas Spering, and also sang with the Capella Cracoviensis in Poland, conducted by Jan Tomasz Adamus.