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, CuvilliesTheater Munich, 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)
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, a concert of Mozart concert arias in London's Cadogan Hall with Christian Zacharias leading the English Chamber Orchestra, 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.