TARA CURTIS

Mezzo-Soprano

 

Mezzo-soprano Tara Curtis is quickly establishing 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."

  

In summer 2017 she returns to St. Petersburg Opera as a principal artist in two role debuts: the Voice of Antonia's Mother in Les Contes d'Hoffman and, immediately following, the Witch in Sondheim's Into the Woods.  Autumn brings another impressive debut as the Marquise de Berkenfield in La Fille du Régiment with Opera in the Heights.

 

Tara recently completed the 2016-2017 season with Palm Beach Opera as a member of their Benenson Young Artist Program.  While there, she sang the roles of Giovanna in Rigoletto and Kate in The Pirates of Penzance.  She covered the roles of Suzuki in Madama Butterfly, Maddalena in Rigoletto and Ruth in The Pirates of Penzance, and also sang the family performance as Ruth.

 

Her 2015-2016 season began in the fall with her first Mozart Requiem, performed with the Staley Chorus Ensemble in Kansas City, Missouri.  Tara returned to Sarasota Opera for their 2016 Winter Season to sing the role of Imelda in the rarely performed Verdi opera, La Battaglia di Legnano and covered the role of Amneris in Aïda.  In May, she sang with Wichita Grand Opera for the first time, making her role debut as Ruth in the beloved Pirates of Penzance

 

In the summer of 2016, she was a participant in the Merola Opera Program for a second, consecutive year.  She sang excerpts from multiple operas in the Schwabacher Summer Concert Series including Baba the Turk in The Rake’s ProgressLa Prieure in Dialogues des Carmélites and Ragonde in Le Comte Ory. For the Merola Grand Finale concert, she sang Cassandre's first aria from Berlioz's Les Troyens. In the fall of 2016, Tara worked with St. Petersburg Opera for the first time as an Emerging Artist, covering the role of Azucena in Verdi's Il Trovatore.  

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Tara had a number of company and role debuts in the 2014-2015 season. In the fall, she sang her first Verdi Requiem with the University of Missouri Concert Series.  In January of 2015 she was a Studio Artist with Sarasota Opera,  covering the roles of Marcellina in Mozart's Le nozze di Figaro as well as Amelfa in Rimsky-Korsakov’s The Golden Cockerel.   In May, she sang the Verdi Requiem for the second time with the Galesburg Community Chorus in Galesburg, Illinois.  For the summer of 2015, Tara was a participant in the prestigious Merola Opera Program where she sang the role of Zita in Puccini's Gianni Schicchi and sang Azucena's aria, "Condotta ell'era in ceppi" from Verdi's Il Trovatore in the Merola Grand Finale Concert.

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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, as well as numerous roles while in training at the University of Kansas, the Boston Conservatory and the University of Missouri.  She has sung 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.  She has also participated in a number of oratorio and recital performances including the mezzo-soprano in 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 has been 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.