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 reprises the role of Mrs. De Rocher in Dead Man Walking with Opera on the Avalon; sings Mahler’s Symphony No. 2 with Pacific Symphony, Costa Rica National Symphony, and Bozeman Symphony; and returns to The Metropolitan Opera for Les contes d’Hoffmann, The Exterminating Angel, The Merry Widow, and Faust.
Last season, Ms. Lattimore performed the role of Dame Marthe in Faust with Houston Grand Opera, La Frugola in Il tabarro with Bard SummerScape, and sang Brahms’ Alto Rhapsody at Alice Tully Hall, Beethoven’s Missa Solemnis with Toledo Symphony, Rossini’s Stabat Mater with The New Choral Society, Stravinsky’s Oedipus Rex with The Washington Chorus, and an alumni recital and masterclass with The Crane School of Music.
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 Ory, 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.”
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 perform numerous times at the esteemed house including productions of Eugene Onegin, Roméo et Juliette, and the roles of Meg Page in Falstaff and Jordan Baker in The Great Gatsby, both under the baton of the James Levine.
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, singing his Four Psalms at Carnegie Hall, and recording 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’s 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.
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.