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NEW Press Notices....
Juno in Handel's Semele (Opera Boston) January 2008
Margaret Lattimore, as Juno, also delivered a star turn. As the ultimate uber-bitch, Lattimore used her vocal prowess as a weapon — her heavy chest tones were deliciously evil. Like a Motown hipster, Lattimore hardly moved a muscle while she sang. Letting a finger or two flick in and out here and there, she was the Handelian voice of "R-E-S-P-E-C-T." OPera News
Read Complete Review at link below
Opera News > The Met Opera Guild
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The old Lady in Bernstein Candide (Toledo Opera) april 2009
Margaret Lattimore sang a delicious and sexy Old Lady, vamping when needed to excellent effect.
Alan Montgomery
OPera news
Read complete Review at link below
Opera News > The Met Opera Guild |
Winner: The
Metropolitan Opera National Council Winners Concert (Metropolitan
Opera)
I place my bet on Margaret Lattimore,
a mezzo-soprano who
sang the rondo-finale of Rossini’s La Cenerentola with a beautifully
textured, burned caramel
voice, an unclouded two and-a-half-octave range, an agile technique,
an
infectious musical sparkle, all of which single her out as a
very special
talent. Remember the name.
Peter G. Davis
New York Magazine |
Jordan Baker in The Great Gatsby (Metropolitan Opera)
Margaret Lattimore, was the best of the three singers
who have so far taken on
the part of the golfer Jordan Baker Lattimore's vibrant
voice rang out, and her
characterization was a scary mixture of hot-blooded giddiness and
icy
calculation.
Richard Dyer
The Boston Globe
The mezzo soprano Margaret Lattimore as
Jordan is ideal in voice and bearing
for the character: stately, athletic, confident.
Anthony Tommasini
The New York Times |
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Rosina, Il Barbiere di Siviglia (Opera Festival of
New Jersey)
Mezzo soprano Margaret Lattimore was simply a
spectacular Rosina. She’s tall,
pretty and witty and she sings like an angel. Her scale is even
from the lowest
to the highest notes, with out the changes and gear shifts that
characterize so
many mezzo voices. She races through trills and roulades with perfect
accuracy,
while remembering that comedic and dramatic nuance count just as
much vocal
fireworks……hearing her cut through the welter of sound
without a hint of
physical effort brought back fond memories of Joan Sutherland at
the old MET
house on Broadway at 39th street.
Peter Wynne
Star Ledger |
Rosina, Il Barbiere di Siviglia (Boston Lyric Opera)
…… Margaret
Lattimore one of the most beautiful women on the operatic stage
today……singing with opulent agile tone and creating a womanly
characterization
more interesting than your usual minx………her voice
is in full, fragrant and
provocative bloom.
Richard Dyer
The Boston Globe |
Ottone, Agrippina (Boston Baroque)
The most ravishing tone came from mezzo Margaret
Lattimore, who sang with her
familiar musicality and with a large, deep, and opulent sound.
Hers was the
only tragic aria of the opera, and with it she stopped
Time.
Richard Dyer
The Boston Globe
Mezzo-soprano Margaret Lattimore poured out seamless,
velvety sound as the
honorable army commander Otho, who finally wins the hand
of the flirtatious
Poppea……‘‘Voi che udite il mio lamento,’’ sung
by Lattimore
with gorgeous tone
and affecting emotion.
Peter M. Knapp
The Patriot Ledger
Mezzo-soprano Margaret Lattimore sang voluptuously
and played the opera’s one
good guy, Otho, with fervor, sympathy.
Lloyd Schwartz
The Boston Phoenix |
Octavian, Der Rosenkavalier (Michigan Opera Theatre)
Margaret Lattimore…is a standout as Octavian. Her high mezzo
is bright and
trumpet-like. She soars easily into the stratosphere, as Strauss
singers must,
without losing volume. Lattimore also plumbs the depths of her
character…she
knows how to project silkiness rather than mere petulance. Lattimore
is a
young singer to watch.
George Bundla
Metro Times
The principal bright spot was the
remarkable performance of Margaret
Lattimore, as Octavian. Combining exceptional vocalism with natural
acting and
superb theatrical instincts the young mezzo was terrific, pulling
off a
difficult role without striking a single false note. The singer
suggests a
young Frederica von Stade in her dazzling smile, fulsome voice
and charismatic
stage presence. Lattimore inhabited Octavian completely, rendering
the restless
impetuosity of the Marschallin’s teenage lover, pulling off the
gender-switch
masquerade as Mariandel in flat tones that remained humorous without
being
overdone, and in general giving this wayward production its finest
moments.
Lawrence A. Johnson
Opera News |
Dorabella, Cosí fan tutte (San Diego Opera)
Margaret Lattimore’s Dorabella is, in a generation
of fabled Dorabellas, one
of the most admirable, poignant and musically eloquent.
Daniel Caragia
Los Angeles Times
…
.America mezzo-soprano Margaret Lattimore – a great Cenerentola
here in 1996,
and one of the best Dorabellas I’ve heard.
David Gregson
San Diego Magazine |
Stephano, Romeo et Juliette (Washington Opera)
It didn’t seem fair that Margaret Lattimore, a young mezzo-soprano
from the
original cast could come onstage to deliver a show-stealing aria,
in the role
of Stephano, Romeo’s spunky page (a character invented for the
opera). But
everything about her was superb, from the subtlety of her vocal
inflections to
her bright, powerful, focused delivery. She was the highlight of
the evening.
Pierre Ruhe
The Washington Post
The vocal star of the evening was the young mezzo
soprano Margaret Lattimore
whose singing and acting of the young page Stephano was worth sitting
through
the rest of it. She has a nice presence, moves well, is a good
actress and
sounds like a young von Stade. BRAVA! I hope the Washington Opera
has the good
sense to keep her on call and will someday give us her Charlotte.
Bill Russell
WFSO/FM |
Sister Helen Prejean, Dead Man Walking (Austin Lyric Opera)
……
mezzo –soprano Margaret Lattimore was a vocally lustrous and
theatrically
convincing Sister Helen.
Mike Greeenberg
San Antonio Express-News
Sister Helen is the opera’s charismatic
center, on stage for nearly the entire
two acts. And Margaret Lattimore positively blazed with intensity
in the role,
her lovely timbre full of emotion.
Jeanne Claire van Ryzin
Austin American Statesman |
Erika, Vanessa (San Diego Opera)
American mezzo-soprano Margaret Lattimore is especially
effective as the much
abused Erika. She produces a lovely tone and projects an utterly
sympathetic
image of a young girl victimized.
David Gregson
San Diego Magazine
Although the Opera is entitled Vanessa, the most beautiful music
in it is
given to Erika, played here by the silken-voiced Margaret Lattimore.
Her
aria, 'Must the Winter Come so Soon' was the vocal highlight of
the evening.
Maria Nockin
Opera Japonica |
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