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Marina’s Aria, Mussorgsky’s Boris Godunov

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“Liber Scriptus,” Verdi’s Requiem


Marina’s Aria, Mussorgsky’s Boris Godunov

“Liber Scriptus,” Verdi’s Requiem

Margaret Lattimore

Mezzo-Soprano

Grammy-nominated mezzo-soprano Margaret Lattimore has been praised for her “glorious instrument” and dubbed an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color,” by the Boston Globe. While she began her career singing the florid works of Händel, Rossini, and Mozart, Ms. Lattimore expanded her repertoire in recent seasons to include the works of Mahler, Verdi and Wagner, making her one of the most versatile mezzo-sopranos performing today. Most recently, she played the role of Marcellina in Marcos Portugal’s Il matrimonio di Figaro with On-Site Opera and Ms. De Rocher in New Orleans Opera’s production of Dead Man Walking. This season, Ms. Lattimore will perform the role of La Frugola in Il tabarro with Bard SummerScape, Dame Marthe in Faust with Houston Grand Opera, and sing Mahler’s Symphony No. 2 with Pacific Symphony and Costa Rica National Symphony, Brahms’ Alto Rhapsody at Alice Tully Hall, Beethoven’s Missa Solemnis with Toledo Symphony, and Stravinsky’s Oedipus Rex with The Washington Chorus. She will also be involved in The Metropolitan Opera’s productions of Eugene Onegin and Roméo et Juliette.

Jun
2017

Jun-08
to
Jun-11
Mahler’s Symphony No. 2
Soloist
Pacific Symphony
Fullerton, CA
Jul
2017

Jul-02
Mahler’s Symphony No. 2
Soloist
Costa Rica National Symphony
San Jose, Costa Rica
Sep
2017

Sep-26
to
Oct-28
Les contes d’Hoffmann
The Metropolitan Opera
New York, NY
Oct
2017

Oct-26
to
Nov-21
The Exterminating Angels
The Metropolitan Opera
New York, NY
Dec
2017

Dec-14
to
Jan-11
The Merry Widow
Praskowia
The Metropolitan Opera
New York, NY
Apr
2018

Apr-07
to
Apr-08
Mahler’s Symphony No. 2
Soloist
Bozeman Symphony
Bozeman, MO
May
2018

May-12
Faust
The Metropolitan Opera
New York, NY
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…dominated …
 Dead Man Walking – “The most memorable scene, however, was dominated by Margaret Lattimore as De Rocher’s mother. Her plea to the Pardon Board caught the tragedy’s effect on all of the families, and she richly deserved the ovation she received at the final curtain.UK Opera 
…comically amorous…
Faust “Margaret Lattimore delivered a satisfyingly no-nonsense, bustling, comically amorous Marthe Schwerlein.” Opera News
…well-voiced, barrelhouse-mezzo…
The Rake’s Progress – “Margaret Lattimore, an alumnus of the Met’s Lindemann Young Artist Development Program, has been among the most reliably characterful singers on the Met stage since she returned to the company for featured roles in 2012, after a decade’s absence. Lattimore’s well-voiced, barrelhouse-mezzo Mother Goose, demure in ringlets with a man-compromising amble, made the impact this tricky part sometimes misses.” – Opera News
…large, deep, and opulent sound…
Agrippina“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.”The Boston Globe
…fulsome voice and charismatic stage presence…
Der Rosenkavalier“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.” Opera News
Grammy-nominated mezzo-soprano Margaret Lattimore has been praised for her “glorious instrument” and dubbed an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color,” by the Boston Globe. While she began her career singing the florid works of Händel, Rossini, and Mozart, Ms. Lattimore expanded her repertoire in recent seasons to include the works of Mahler, Verdi and Wagner, making her one of the most versatile mezzo-sopranos performing today. Most recently, she played the role of Marcellina in Marcos Portugal’s Il matrimonio di Figaro with On-Site Opera and Ms. De Rocher in New Orleans Opera’s production of Dead Man Walking. This season, Ms. Lattimore will perform the role of La Frugola in Il tabarro with Bard SummerScape, Dame Marthe in Faust with Houston Grand Opera, and sing Mahler’s Symphony No. 2 with Pacific Symphony and Costa Rica National Symphony, Brahms’ Alto Rhapsody at Alice Tully Hall, Beethoven’s Missa Solemnis with Toledo Symphony, and Stravinsky’s Oedipus Rex with The Washington Chorus. She will also be involved in The Metropolitan Opera’s productions of Eugene Onegin and Roméo et Juliette.

Ms. Lattimore has become an audience and critic favorite for her one-of-a-kind portrayals throughout her repertoire. Of her performance in Verdi’s Requiem The Houston Chronicle wrote: “Mezzo-soprano Margaret Lattimore’s vocals were distinguished by her rare intensity, gleaming pure tone, and strong dramatic instincts.”  Ms. Lattimore was praised for her singing at Des Moines Metro Opera where, of her performance in Rossini’s Le Comte Oryz, Opera Today said:Margaret Lattimore was luxury casting in the role Ragonde, her plummy mezzo as rich as chocolate mousse. An added bonus is that Ms. Lattimore’s perfectly tuned comic timing and her subtle bits of registering dismay never failed to elicit a laugh.” It then went on to say of her work as Mrs. Patrick Derocher in Jake Heggie’s Dead Man Walking: “After her hijinks in the Rossini, the versatile mezzo soprano Margaret Lattimore was back as Joe’s grieving mother. On this occasion, Ms. Lattimore brought seamless beauty to her singing and elicited wondrous empathy for her plight.”  Later that season at The Metropolitan Opera, Opera News, called her a “juicy Praskowia” in The Merry Widow, and as Mother Goose in The Rake’s Progress the New York Times said: “[she] brought an auburn glow to the part of Mother Goose.”

As a champion of contemporary works, new music has been central to Ms. Lattimore’s career, and she works with some of the most gifted, accomplished, and recognized American composers of the 20th and 21st centuries including: Jake Heggie, Ricky Ian Gordon, Nico Muhly, John Musto, Stephen Paulus, Daniel Kellogg and Lawrence Siegel. As a student at the Tanglewood Music Center she began to nurture her love and commitment to contemporary music, and was fortunate enough to work with composer John Harbison. This auspicious meeting fostered an enduring artistic collaboration and led to her starring as Jordan Baker in Mr. Harbison’s The Great Gatsby at the Metropolitan Opera, sang his Four Psalms at Carnegie Hall, and recorded his “Due Libri” from Motetti di Montale for Koch International leading to her 2006 Grammy nomination.

With an accomplished concert career both domestically and internationally, Ms. Lattimore’s recent concert engagements include Bach’s B-minor Mass with Soli Deo Gloria; Messiah with the Philadelphia Orchestra; Verdi Requiem with the Houston Symphony, The Spoleto Festival, Opera Grand Rapids, Bozeman Symphony Orchestra, and The New Choral Society; Rossini’s Stabat Mater and Mozart’s Requiem with the Riverside Choral Society; Berenice at Carnegie Hall; Mozart’s Mass in C Minor in Eugene, Oregon; Brahms’ Alto Rhapsody with Sinfonica Nacional de Mexico and Riverside Choral Society; an opera gala with Johnstown Symphony; and Beethoven’s Symphony No. 9 with Sinfonica Nacional de Mexico, Orquesta Sinfonica Nacional de Costa Rica, The Winter Park Bach Festival, and the Louisiana Philharmonic.

She made her Metropolitan Opera début as Dorotea in Stiffelio with Plácido Domingo and later appeared in the PBS Great Performances broadcasts of Stiffelio and Madama Butterfly. She would go on to sing many roles at the esteemed house including Meg Page in Falstaff and Jordan Baker in The Great Gatsby (both under the baton of the James Levine).

In previous seasons, Ms. Lattimore graced opera and concert stages throughout the world. She worked with esteemed opera houses such as New York City Opera, Washington Opera, Dallas Opera, Michigan Opera Theatre, Netherlands Opera, Florida Grand Opera, Central City Opera, San Diego Opera and Austin Lyric Opera; at festivals such as Mostly Mozart Festival, Chicago’s Ravinia Festival, the Covent Garden Festival, the Tanglewood Music Festival, and the Windham Chamber Music Festival; at venues such as New York’s Morgan Library, Weill Recital Hall, and The Library of Congress; with symphonies such as The New York Philharmonic, The Philadelphia Orchestra, Boston Symphony Orchestra, The Orchestra of St. Luke’s, Saint Paul Chamber Orchestra, Minnesota Orchestra, Philharmonia Baroque, Boston Baroque, Indianapolis Symphony, the New World Symphony, Houston Symphony and the Hong Kong Philharmonic; and with conductors that include James Levine, Bernard Haitink, Kurt Masur, James Conlon, Louis Langrée, Hans Graf, Andrew Davis, Michael Tilson Thomas, Rafael Führbeck de Burgos, Steuart Bedford, Fabio Luisi, Giandrea Noseda, Jane Glover, Carlos Miguel Prieto, Sir David Wilcocks, Grant Llewellyn, Raymond Leopard and Nicholas McGeagan.

After winning the Metropolitan Opera National Council Auditions at the age of 24, Margaret Lattimore became a member of the Metropolitan Opera Lindemann Young Artist Development Program. Margaret Lattimore is a graduate of the Crane School of Music at the State University of New York at Potsdam and winner of the Eleanor McCollum Award from the Houston Grand Opera Studio, a Jacobson Study Grant from the Richard Tucker Foundation, and the prestigious Vienna Award from the George London Foundation.

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