TARA CURTIS Mezzo-Soprano

Mezzo-soprano Tara Curtis has established herself as an "impressively full-voiced, dramatic" singer of operatic and concert repertoire. Her "keen, bright mezzo, darkened with raw edges" with its "arresting power and radiant tone" has been hailed as "a natural fit for Verdi." 2019 engagements included Manuel de Falla’s El Amor Brujo with the Atlantic Classical Orchestra, a company and role debut with Syracuse Opera as Mrs. Peachum in The Threepenny Opera and the role of Madame de la Haltière in Cendrillon with the Opera Company of Middlebury. 2018 began with a return to the role of The Old Lady in Candide with Opera in the Heights. She then made her international debut in Canada with Opera on the Avalon as Hannah After in As One. In 2017 Tara returned to St. Petersburg Opera as a principal artist in two role debuts: the Voice of Antonia's Mother in Les Contes d'Hoffman and the Witch in Sondheim's Into the Woods. Autumn brought another impressive role and company debut as Marthe Schewertlein in Faust with Tulsa Opera. She was also engaged by her alma mater, the University of Missouri, to be a soloist in their 100th Anniversary concert of Elijah. Tara sang the 2016-2017 season with Palm Beach Opera as a member of their Benenson Young Artist program where she sang the roles of Giovanna in Rigoletto, and Kate in The Pirates of Penzance, covering Suzuki in Madama Butterfly, Maddalena in Rigoletto and Ruth in The Pirates of Penzance. In the 2015-2016 season Tara sang Mozart’s Requiem with the Staley Chorus Ensemble in Kansas City. She returned to Sarasota Opera as Imelda in La Battaglia di Legnano and covered the role of Amneris in Aïda. She also made her Wichita Grand Opera debut as Ruth in Pirates of Penzance. She was a participant in the Merola Opera program and covered the role of Azucena in Verdi's Il Trovatore.

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Other credits include Lyric Opera of Kansas City, Trentino Music Festival, Crested Butte Music Festival, Janiec Opera Company at Brevard Music Center, and numerous roles at the University of Kansas, the Boston Conservatory and the University of Missouri. Roles include Third Lady in Mozart’s The Magic Flute, the title role in Britten’s The Rape of Lucretia, Cornelia in Handel’s Giulio Cesare, Mrs. Herring in Britten’s Albert Herring, Mother Marie in Poulenc’s Dialogues of the Carmelites, Inez in Verdi’s Il Trovatore, Berta in Rossini’s Il Barbiere di Siviglia and Der Trommler in Ullmann’s Der Kaiser von Atlantis. Tara was the alto soloist in Verdi’s Requiem, Beethoven’s Mass in C Major and Choral Fantasie, Handel's Messiah, Haydn's Stabat Mater, Mendelssohn's Elijah, Bach's Mass in B Minor and Cantata 140, Vivaldi's Magnificat, Brahms' Liebeslieder Waltzes, Elgar’s Sea Pictures, Mahler’s Kindertotenlieder and Bernstein’s Arias and Barcarolles. Tara was a Merola Opera Career Grant winner, Regional Finalist in the Metropolitan National Council Auditions - Midwest Division, Second-Place winner in the art song division of The American Prize: Friedrich and Virginia Schorr Memorial Award as well as a semi-finalist in the opera division and for the Chicago Oratorio Award, a finalist in the Brava! Opera Theatre James M. Collier Competition and a recipient of the Polsky Award from the Lyric Opera of Kansas City.

OCTOBER 2020