128edit

ARTIST WEBSITE

DOWNLOAD ELECTRONIC PRESS KIT

AUDIO SAMPLES

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


Handel’s Messiah


Orfeo et Euridice


Handel’s Messiah


Orfeo et Euridice

Renee Tatum

Mezzo-soprano

 

Noted for her “commanding and dramatic presence” (Opera News), mezzo-soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States. This season, engagements include Flosshilde in Das Rheingold at the National Taichung Theatre and with Tanglewood Music Festival and in Götterdammerung in a return to Houston Grand Opera as well as, Olga in Eugene Onegin with Boston Youth Symphony, and High Priestess in Aida and a solo in Handel’s Messiah with Pacific Symphony. Additionally, she will perform solos in Beethoven’s Missa Solemnis with Pacific Chorale, Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic, and Beethoven’s Symphony No. 9 with San Diego Symphony.

Sep
2016

Sep-30
to
Oct-02
Das Rheingold
Flosshilde
National Taichung Theater
Taiwan
Oct
2016

Oct-30
Beethoven’s Missa Solemnis
Soloist
Pacific Chorale
Costa Mesa, CA
Nov
2016

Nov-13
Mozart’s Requiem
Soloist
Omaha Symphony
Omaha, NB
Dec
2016

Dec-04
Messiah
Soloist
Pacific Symphony
Costa Mesa, CA
Dec-09
to
Dec-11
Beethoven’s Symphony No. 9
Soloist
San Diego Symphony
San Diego, CA
Jan
2017

Jan-29
Eugene Onegin
Olga
Boston Youth Symphony Orchestra
Boston, MA
Feb
2017

Feb-02
to
Feb-04
Mozart’s Requiem
Soloist
Rochester Philharmonic
Rochester, NY
Feb-23
to
Feb-28
Aida
High Priestess
Pacific Symphony
Costa Mesa, CA
Apr
2017

Apr-22
to
May-07
Götterdammerung
Flosshilde
Houston Grand Opera
Houston, TX
Jul
2017

Jul-15
Das Rheingold
Flosshilde
Tanglewood Music Festival
Lenox, MA
Please click below to see full quote

…luscious and dramatic…
 Manchester Music Festival “Mezzo-soprano Renée Tatum, another Met veteran, proved especially effective in French repertoire. Her ‘Amours! Viens aider ma faiblesse’ from Saint-Saens’ ‘Samson et Delila’ was luscious and dramatic, as was her ‘O ma lyre immortelle’ from Gounod’s “Sapho.” – Times Argus 
…striking impression…
Salome “In the relatively small role of Herodias’s page Renee Tatum made a particularly striking impression.”Classical Source
…commanding and dramatic presence…
 Messiah“Fortunately Renée Tatum was such a commanding and dramatic presence that she held one’s attention whenever she was on stage…her agility in coloratura and the rich tonal and expressive nuances she brought to her showpiece arias were thrilling.”  – Opera News
…stood out…
Gloria “And in this large, fine cast the mezzo-soprano Renee Tatum stood out as La Haine (Hatred) in a chilling scene when Armide, having sought demonic help in exorcising her love for Renaud, collapses, unable to give her heart away.”New York Times
…excellent throughout…
 Medea “As for Medea herself, Renee Tatum fielded an interpretation of the conjures that dripped with wounded narcissism and sadistic sexuality. The mezzo was excellent throughout but nailed her assignment most piercingly with the explosive pyrotechnic of “O stingeró nel sen,” something of a paean to rankling jealousy” – Opera News
 

Noted for her “commanding and dramatic presence” (Opera News), mezzo-soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States.

This season, engagements include Flosshilde in Das Rheingold at the National Taichung Theatre and with Tanglewood Music Festival and in Götterdammerung in a return to Houston Grand Opera as well as, Olga in Eugene Onegin with Boston Youth Symphony, and High Priestess in Aida and a solo in Handel’s Messiah with Pacific Symphony. Additionally, she will perform solos in Beethoven’s Missa Solemnis with Pacific Chorale, Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic, and Beethoven’s Symphony No. 9 with San Diego Symphony.

Recent seasons’ engagements include Suzuki in Madama Butterfly with Toledo Opera, Flosshilde and Waltraute in Der Ring des Nibelungen with Washington National Opera, Flosshilde in Götterdämmerung with Teatro Massimo di Palermo, a return to the Metropolitan Opera as the Second Lady in Julie Taymor’s production of Die Zauberflöte led by Ádám Fischer, a return to Houston Grand Opera both as Third Lady in Die Zauberflöte under the baton of Robert Spano, and as Grimgerde in a new production of Die Walküre conducted by Artistic and Music Director Patrick Summers. Ms. Tatum also joined an international cast in Japan as Flora in Verdi’s La traviata, sang as the mezzo soloist in Mahler’s Resurrection Symphony and Mozart’s Requiem with The Eastern Music Festival, and as mezzo soloist in Beethoven’s Symphony No. 9 with The Boston Symphony Orchestra at the Tanglewood Music Festival.

Additional concert appearances include Salome with Andris Nelsons and the Boston Symphony Orchestra, Mozart’s Requiem with Music Director Daniel Stewart and the Santa Cruz Symphony, and Beethoven’s Symphony No. 9 with conductor Daniel Wachs and the Orange County Philharmonic Society.

A recent alumna of the Lindemann Young Artist Development Program, Miss Tatum made her Metropolitan Opera début as Inez in Il trovatore conducted by Marco Armiliato. Additional performances at the prestigious house include Second Lady in Die Zauberflöte conducted by Jane Glover, Second Woodsprite in Rusalka led by Yannick Nézet-Séguin, Unborn in Die Frau ohne Schatten with Vladimir Jurowski, Emilia in Otello under the baton of Semyon Bychkov, Adonella in Zandonai’s seldom heard Francesca da Rimini conducted by Marco Armiliato, Fenena in Nabucco with Paolo Carignani, and Flosshilde in Robert Lepage’s landmark production of Der Ring des Nibelungen conducted by Fabio Luisi.

Earlier in her young career, Tatum was also featured as Háta in Smetana’s The Bartered Bride in a new production by Stephen Wadsworth, led by James Levine, in a collaboration between The Metropolitan Opera and the Juilliard School, and in the roles of Flosshilde and Grimgerde in San Francisco Opera’s Der Ring des Nibelungen conducted by Donald Runnicles. Other performances include La Haine in Gluck’s Armide in a co-production between the Metropolitan Opera and the Juilliard School and the role of Medea in Händel’s Teseo with Chicago Opera Theater. As an Adler Fellow, her San Francisco Opera performances included Inez in Il trovatore, Annina in La traviata, and Emilia in Otello.

She performed Third Lady in Die Zauberflöte with the Santa Fe Opera conducted by Lawrence Renes and in a new production at San Francisco Opera led by Rory Macdonald, Amando in Ligeti’s Le Grand Macabre with the New York Philharmonic conducted by Alan Gilbert, and The Secretary in Menotti’s The Consul with Chautauqua Opera.

Ms. Tatum is a winner of the 2011 Gerda Lissner Foundation Competition, a finalist of the 2011 George London Foundation Competition, 2010 Grand Prize Winner of The Licia Albanese Puccini Foundation Competition, The Opera Index Competition, The Jensen Foundation Award from Chautauqua Opera, and two-time recipient of the Richard F. Gold Career Grant. A Regional Finalist in the Metropolitan Opera National Council Auditions, Ms. Tatum holds degrees from The Juilliard School and The Manhattan School of Music. Ms. Tatum’s discography includes the DVD releases of The Metropolitan Opera LIVE: in HD broadcasts of Otello and Rusalka, as well as a recording of Le Grand Macabre with The New York Philharmonic.

Share this