The Italian repertoire of the 19th century is a central element of Tamara’s work:

“..the deep silky voice of Tamara Gura possesses the essential melancholy, from which the liveliest joy for life can spurt out, like a fountain in the castle gardens.”(Drehpunktkultur)

She has progressed through the Rossini prima donna roles of Rosina, Cenerentola and Isabella, performing in Salzburg, the staatsoper Hamburg, the Semperoper Dresden, the Cuvilliéstheater Munich , and the Deutsches Nationaltheater Weimar. 

“The slender, attractive young singer has a dramatic alto voice in the low range and also possesses a full sounding, beautiful middle voice, and seems destined for the great dramatic roles” Nordbayern

This progression towards more dramatic repertoire has already seen her lend her “extremely expressive mezzo”(Opernglas) and “voice which lingers in your memory” Deutschlandradio Kultur to the part of Adalgisa. 

Her voice is ideal for fuller roles such as Arsace (Rossini), Romeo (Bellini), and Leonora or Elisabetta (Donizetti). 

“The best, and that in every regard is Isabella, the American born Tamara Gura, who has worked her way in the last years into the highest league of mezzos. Whoever hears and sees her onstage immediately can tell why.”
— Online Musik Magazine
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“Dazzling coloratura and delightful acting”
— Süddeutsche Zeitung
“a first rate Rosina and dramatically thoroughly enjoyable”
“Onstage, Tamara Gura as dream woman Isabella wears a gold bikini and a mini skirt, but musically she wears the pants and brandishes the riding whip. Possessing the ideal vocal timbre, expression and stamina, her interpretation of Rossini’s music comes very close to (legitimate) vocal anarchy. She jumps from octave to octave, flies up/down/sideways. She trumpets, languishes, and entices.”
— Die Deutsche Bühne, Roland Dippel
“Mezzo soprano Tamara Gura makes the most of her sparkling coloratura...the most exuberant high notes serve the drama and are presented with pristine, flawless technique. She has wonderful stamina , singing “Pensa alla patria” absolutely effortlessly at the end of the opera. She takes control, fueling the men’s testosterone into overdrive with her model figure.”
— Opernwelt U. Friedrich
“The cast was led by outstanding Tamara Gura, a mezzo-soprano with a velvety timbre and an abundance of vocal richness and volume in the character of Angelina. Her coloratura are skillfully executed, the sound is very well projected and of the most important Cinderellas of the moment.”
— Opera World
“Tamara Gura sings the title role ravishingly; in all high and low registers. She even sings the most difficult coloratura with virtuosity.”
— Epoch Media
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“Tamara Gura possesses a velvety dark voice and an effortless technique. Her legato is confidently on the breath; her coloraturas precise pearls, delivered with flair.. The dark colour of Tamara Gura’s voice will happily be ringing in our ears for some time to come.”
— Drehpunktkultur