Critics have reacted to Tamara Gura’s Baroque interpretations with the highest praise: as Ariodante, she “delivered her arias with such masterful ease and flawless vocal clarity that it was a joy”APA. “her deeply emotional singing made time stand still for nearly 10 minutes” was the verdict of magazine Opernwelt to Tamara’s performance of another title role, Radamisto. “A brilliant vocal and dramatic performance...Gura glamorously embodied the androgynous ideal of Handel's traditional classical hero.” Süddeutsche Zeitung 

Combining her matchless ability to express the emotional core of Händel’s music and her seemingly effortless flair with coloratura, Tamara Gura is the ideal baroque performer.

She has interpreted leading baroque roles such as Ariodante, Radamisto, Orfeo, Sesto, Piacere, Vagaus , and Bradamante in such houses as the  Semperoper Dresden, Aalto Theater Essen, H ändel Festspiele Karlsruhe, Staatstheater Wiesbaden, Antwerp, Staatsoper Hamburg ,Dresdener Musikfestspiele.

For her performance in the title role of Ariodante, she was named  by reviewer Christoph Zimmerman in the presitigious newspaper Die Welt  as best singer. Tamara has worked with baroque specialists  such as Alessandro de Marchi, Matthew Halls, Chris Moulds, Alan Curtis, Andreas Spering, Christian Curnyn. A solo disc with music by Händel is planned. 


“Tamara Gura in the title role was simply a sensation. The elegant American possesses a mezzo voice as agile as it is expressive, and whose warmth, fullness and roundness movingly captures not only the expression of grief, but is also able to express flaming joy and jubilation”
— Der neue merker - Christoph Zimmermann
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“Gura delights as Ariodante with a warm-timbred mezzo and wonderfully flexible coloratura. Her big aria, “Scherza infida” represents a high point of the evening in which she movingly gives expression to her deep sorrow over the apparent betrayal of Ginevra. In the third act she impresses with absolutely heroic sounds.”
— Online Musik Magazin
“Tamara Gura convinced with her optimally grounded mezzo, fantastic register changes, frenzied coloratura, and dreamy, fantastic internalisation. This is how a baroque trouser role is brilliantly sung by a woman.”
— Martin Freitag Deropernfreund
“Tamara Gura as Ariodante is a revelation! Had she only sung one aria, she would have been the star of the evening. I am referring to the long, full of desperation “Scherza infida”, the central aria of the opera. Stupendous vocal technique, stamina and concentration alone would not guarantee a success, were it not for the exhilarating expressivity of this singer.”
— FR Dreyer, Der neue merker
“Ariodante’s aria “Scherza infida“ lasts for 10 minutes... Tamara Gura sings (not only) this scene convincingly, movingly with primal, dark intensity”
— Karl Harb, Salzburger Nachrichten
“Tamara Gura dazzles, both dramatically and vocally, in the pants role of Ariodante. She delivers the treacherous coloratura with effortless elegance”
— SVZ
 
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“With her beautiful mezzo voice and grnuine expressivity, Tamara Gura offers a convincingly grieved but determined Orfeo... A standing ovation that is fully deserved”
— Klassiek Centraal
“Tamara Gura sang the role of Radamisto with highly emotional, convincing and sophisticated singing.”
— Opernnetz.de
 
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“Tamara Gura brings all of the colors of her dark and velvety iridescent timbre to the role of Ariodante... Deep low notes and an effortless middle range were crowned by smooth shining highlights in the high register.”
— Heide Marie Klabacher, Drehpunktkultur
“Exhilaratingly sung and smartly played the trouser role (Sesto ) by the young contralto Tamara Gura”
— Boris Gruhl, Dresden neuste Nachrichten
“The American Tamara Gura, created the male title role of Radamisto with a beautifully even tone, deeply expressive singing.”
— Opernglas
It is perhaps Tamara Gura’s Gismonda however that most touched the spirits:here is a mezzo with a beautiful timbre, dark and round, with impeccably welded registers, who has both style and temperament, as is witnessed in her mad aria in the second half; flawlessy mastered- a flashback to Durastanti.”
— Didier van Moere, ConcertoNet

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