— Reviews —



"Mezzo-soprano Tara Curtis had wonderful presence, both vocally and theatrically as the haughty and overbearing stepmother Madame de la Haltière."

- Jim Lowe, Rutland Herald

AS ONE (2018) 

"Throughout, “Hannah After” (HA), played by American Tara Curtis, is seen onstage, looking at HB with hurt in her eyes. She knows his pain — it was hers. Flash-forward to adulthood. Hannah lives in a new city, where she experiences new freedoms, like expressing herself as the woman she is...Curtis and Love’s impeccable performances were deeply moving, their amazing vocal capabilities beautifully complementing this impressive, inspirational and intentionally unnerving production."

- Wendy Rose, The Western Star

CANDIDE (2018)

"Mezzo Tara Curtis, with cigarette dangling from her lips and an air of slatternly “assimilation,” runs away with the sly comedy in the role of Old Lady, who's seen her share of troubles, having lost one of her buttocks to a ravenous Russian. Watch her reactions to what's going on around her. It's a tutorial in comic timing. But it's her stentorian mezzo that's truly a study in vocal technique."

- D.L. Groover, Houston Press


"Tara Curtis, in the pivotal role of the Witch, is mesmerizing and absolutely nails her songs "Stay with Me" and (especially) "Last Midnight." Her final big hurrah, joined by the cast, is "Children Will Listen," and it was glorious..."

  - Peter Nason, Broadway World

  "The Witch spends most of Act I under a mold-colored Kabuki mask and a prosthetic hook nose. Many of the other costumes are brightly colored and attractive; she wears what looks like layers of burlap dug out of somebody’s back yard. Ah, but after her transformation – hey, it’s a fairy tale – the Witch is revealed as mezzo-soprano Tara Curtis, and from that point until the end of the (very long) show, she dominates the action. Curtis’s renditions (there are several) of “Children Will Listen” and the moody, melancholic “Last Midnight” nearly brought the house down on opening night. Even the other seasoned professionals in the cast seemed in awe of her dynamism and power."

- Bill DeYoung, Creative Loafing Tampa Bay

"...mezzo soprano Tara Curtis single-handedly elevates the show as the Witch, belting out Last Midnight and Children Will Listen."

- Andrew Meacham, Tampa Bay Times


"...part of multiple highlights, including a trio with Lara Lynn McGill as the singer Antonia and Tara Curtis as the ghost of Antonia's mother."  

- Andrew Meacham, Tampa Bay Times

"The powerful trio “Cher enfant” between Antonia, her mother, and Dr. Miracle. Bass-baritone William Roberts, soprano Lara Lynn McGill, and mezzo Tara Curtis gave it an affecting and exciting interpretation. So well blended were these three voice types that nobody fidgeted."

- Peter Bates, Stylus Zine


 "Another member of the program of particular note in this production was the rich-voiced mezzo Tara Curtis (Kate)." 

- Karl Hesser, Opera News

"Among the smaller roles, Tara Curtis’ Kate stood out for the opulence of her penetrating mezzo-soprano."  

- Robert Croan, Palm Beach Daily News 

"Three minor female roles, Edith, Kate and Isabel, sung by Danielle MacMillan, Tara Curtis and Kasia Borowiec, respectively, were effectively sung; Curtis made the strongest impression with the size of her voice and clarity in telling a story."

- Greg Stepanich, Palm Beach Arts Paper

"Danielle MacMillan, Tara Curtis and Kasia Borowiec exhibited fine voices and charming stage presence as Mabel’s sisters."

- Lawrence Budman, South Florida Classical Review

"Also effective were Danielle MacMillan, Tara Curtis and Kasia Borowiec as Mable’s [sic] sisters."  

- David M. Rice, Classical Source


"Mezzo-soprano Tara Curtis of Kansas City was next. She sang two songs. The first from Mahler’s Kindertotenlieder, “Oft denk ich, sie sind nur ausgegangen,” (I often think they have only gone out) which she sang with superb vocal control, because this song requires a soft delivery and she has a big sound. Her lovely voice here put me in mind of the late Kathleen Ferrier, an English contralto whom I heard in England at a lieder recital just like this one. Her second song was one of Sir Edward Elgar’s’ Four Sea Songs [sic], “Where Corals Lie.” Here Curtis could let go with all her power and she impressed greatly with an amazing range up and down the register. It was beautifully sung. I’d dare to say there’s a Marilyn Horne timbre locked in her ready to break out."  

- Rex Hearn, Palm Beach Arts Paper


"Through most of the three-hour was the vocal powerhouses who left the most thrilling impressions.  Among them were...mezzo-soprano Tara Curtis, who brought a commanding presence and robustly colored tone to Cassandre’s Act 1 aria (“Malheureux roi!”) from Berlioz’s "Les Troyens."

- Joshua Kosman, The San Francisco Chronicle

"The opera house is still ringing with the San Francisco company’s magnificent production of Berlioz’ Les Troyens last summer, and any performance of Cassandra’s aria of foreboding when the Greek army vanishes and leaves behind their enormous wooden horse is bound to be measured against still-vivid memories of Anna Caterina Antonacci in that role. Mezzo Tara Curtis, from Kansas City, in her second Merola outing this year, met that sky-high bar with power and passion to spare."

- Janos Gereben, San Francisco Classical Voice

"The solo outings were just as impressive. Mezzo Tara Curtis, singing with arresting power and radiant tone, contributed an early highlight in Cassandre's "Malheureux roi!" from Berlioz's "Trojans."  

- Georgia Rowe, The San Jose Mercury News

"Among a lineup of singers who all showed great dramatic and vocal ability, the first standout was mezzo-soprano Tara Curtis singing “Les Grecs ont disparu! …Malheureux roi! Dans l’éternelle nuit” from Berlioz’s Les Troyens in a superb voice with huge power and precise control."

- Ilana Walder-Biesanz, Stark Insider 

"Returning from a big first impression at the Schwabacher Summer Concert at the SF Conservatory, mezzo-soprano Tara Curtis (Kansas City, MO) reigned from center stage as Cassandre in Les Troyens by Berlioz."

- Philip Campbell, The Bay Area Reporter 


"Good sport Tara Curtis wore a beard as Baba the Turk and allowed the Rake to humiliate her as she prattled on in character. The talented mezzo-soprano got her casting revenge later, giving a stunning tour de force portrayal of the tortured Mother Superior in Francis Poulenc's Dialogues des Carmelites."

- Philip Campbell, The Bay Area Reporter

"Later it was the deathbed for Mother Superior in Dialogues of the Carmelites, which featured a powerful, affecting performance by Tara Curtis."

- Janos Gereben, San Francisco Classical Voice

"The sweet-and-sour sonorities of Poulenc’s Dialogues des Carmelites were a welcome contrast, and Tara Curtis on the bed chewed the scenery with her huge voice as the Mother Superior who is terrified of dying."   

- Michael Strickland, Civic Center


"The second half of the concert opened with an electrifying performance of the Anvil Chorus and Song from Act II of “Il Trovatore,” featuring a riveting Tara Curtis as Azucena and an ensemble of gypsies whose sheer power could have split an anvil without a hammer."

- June Lebell, Your Observer News


"Smaller roles were taken by studio artists with one, Tara Curtis, in the role of Imelda, Lida’s handmaid, standing out for excellent vocalism and acting."

- June Lebell, Your Observer News

"Mezzo-soprano Tara Curtis sang Imelda with clarity and assurance." 

- Earl Arthur Love, The Classical Music Network


 "And then, suddenly, everything came together. The future, it seemed, had arrived in full force. It happened in the first half of the program when Tara Curtis focused her keen, bright mezzo, darkened with raw edges, on “Condotta ell’era in ceppi” from Verdi’s Il Trovatore."    

- Steven Winn, San Francisco Classical Voice

"Mezzo-soprano Tara Curtis was an impressively full-voiced, dramatic Azucena as she sang “Condotta ell'era in ceppi,” her tale of mistakenly throwing her own child into the fire, from Verdi’s Il Trovatore."    

- James Roy MacBean, Berkeley Daily Planet

"But that highlight was just one of many. Others included Verdi's "Condotta era in ceppi" from "Il Trovatore," shaped with urgency by soprano [sic] Tara Curtis and tenor Michael Papincak..."  

- Georgia Rowe, The San Jose Mercury News

"Mezzo-soprano Tara Curtis made a big impact with the audience singing Azucena’s aria “Condotta ell'era in ceppi” from Verdi’s Il Trovatore - she has presence, and her voice is a natural fit for Verdi."    

- Mark Rudio, A Beast in a Jungle


"Excellent contributions were also made by Zachary Elmassian as Simone and Tara Curtis as Zita, the latter a gifted comedienne who commanded attention even when she wasn't singing."

- Jeffery S. McMillan, Opera News 

"The trio that Puccini gives to three women of the family sounded lush and alluring as delivered by Tara Curtis (a vivid comic presence throughout), Kathryn Bowden and Ashley Dixon..."

- Joshua Kosman, SF Gate

"Among the many bad relatives, a particular favorite was Tara Zita"

- Michael Strickland, SF Civic Center

"Kathryn Bowden (Nella), Ashley Dixon (Ciesca) and Tara Curtis (Zita) sang beautifully together as they veiled Yoon changing into Donati's clothes."

The Opera Tattler


"She carries a gentleness to the top of the vocal line that is quite effective..."    

- The American Prize Judges' comments


"The Three Ladies (Andrea Garritano, Kristee Haney, and Tara [Curtis]) were a feminine powerhouse—a dynamic, demonstrative trio...the Ladies...represented a single, forceful entity that aided in continuity across the dynamic story."

- Sarah Tyrrell, KC Metropolis