American mezzo-soprano TAMARA GURA is gaining international attention for her velvety, warm timbred voice, her clear, precise coloratura and her dynamic stage presence. She is rapidly establishing herself as one of the most exciting mezzo voices of her generation. Engagements have already taken the young singer to some of Europe's most prestigious opera houses including the Hamburg State Opera, English National Opera in London, the Semperoper in Dresden, Opernhaus Zuerich, Gran Teatre Liceu Barcelona, Holland Festival Amsterdam, and the Teatro dell'opera di Roma.

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

2017/18 plans include 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" with the Siam Opera in Bangkok, the title role in "La Cenerentola" in Greece, as well as a debut at the Teatro San Carlo in Naples in "L'amour des trois oranges."
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 this season 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, gave an important role debut as Donna Elvira in Salzburg under the direction of Jacopo Spirei, and also 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 was also heard as Olga in "Eugene Onegin" at the Dorset Opera Festival in the UK.

Engagements in the 2014/15 season included Sesto at the Semperoper Dresden under the baton of Alessandro DeMarchi, the title role in Handel's "Ariodante" at the Aalto Theater Essen under the musical direction of Christopher Moulds, the role of Orfeo in "Orfeo ed Euridice" in Antwerp, Maddalena in "Rigoletto" in the Haus für Mozart in Salzburg under the stage direction of Amélie Niermayer, the title role in "La Cenerentola" at Opernhaus Chemnitz, as well as the role of Orfeo 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 guest engagements include the role of Balkis in a new production of Gluck's "La Rencontre imprévue" in Salzburg under the stage direction of Jacopo Spirei, the title role in a new production of "La Cenerentola" at Theater Erfurt, Orlofsky in "Die Fledermaus" in Tokyo, the title role in "La Cenerentola" at Theater Dortmund, as well as her very successful operatic debut in the USA as Cherubino in a new production of "Le Nozze di Figaro" under the stage direction of Alessandro Talevi at Central City Opera. She also gave critically acclaimed performances As Ariodante in Händel's "Ariodante" in a new production at the Aalto Theater in Essen under the musical direction of baroque specialist Matthew Halls and the stage direction of Jim Lucassen. For this role, she was named in 2015 as best singer by the reviewer Christopher Zimmermann (Der neue merker, Opera London) Link to Die Welt:Best Singer article

In 2013,She gave a very successful debut in the title role of Handel's "Ariodante" under the baton of baroque specialist Christian Curnyn with the Mozarteum Orchestra at the Landestheater Salzburg. Critics hailed her as “a revelation!" (Der Neue Merker). She "delivered her arias with such masterful ease and flawless vocal clarity that it was a joy" (APA), and sang "believably, movingly with dark intensity."(Salzburger Nachrichten).

Other projects in the 2012/13 season included a new production of "Così fan tutte" (Dorabella) conducted by Leo Hussain, and a reprisal of the title role in "La Cenerentola" with the Mozarteum Orchestra where critics hailed her as "effortlessly a match for the greatest mezzos of this repertoire" (Nordbayern). For her performance as Ariodante in Salzburg in the season 2012/2013, she was awarded the Audience Prize for "Best Singer".

She also sang Orlofsky in a new production of "Die Fledermaus", as well as expanding her modern music repertoire with a pivotal role in the world premiere of "18 Tage"-an opera about the Egyptian revolution by Salzburg Kunstpreis winner Hossam Mahmoud.

In the spring of 2012, she gave 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." In July 2012 she was immediately rehired by Maestro Conlon to sing two concerts of music by Zemlinsky as part of the Spoleto Festival.

Also in the 2011/12 season, she gave her debut in the title role of Rossini's "La Cenerentola" as a guest at the Landestheater in Salzburg under the baton of Leo Hussain to great critical acclaim. In May 2011, 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). She also covered Christine Rice in the role of Marguerite in ENO's production of Berlioz's "La Damnation de Faust".

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."

She was a resident soloist at the Badisches Staatstheater in Karlsruhe, Germany until 2011, where she interpreted leading roles such as Idamante, Dorabella, Cherubino, Radamisto Rosina, Orlofsky, Sesto, Zerlina, Hänsel, Wellgunde, Rossweisse, Zweite Dame, and Bersi. She also sang the role of Flora at the Staatsoper Stuttgart under the baton of Enrique Mazzola.

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 (2007) 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.