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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. This season, Ms. Lattimore makes her Houston Grand Opera debut singing Dame Marthe in Faust and sings Gertrude in The Metropolitan Opera's new production of  Romeo et Juliette. She revisits the role of Mrs. Patrick DeRocher in Dead Man Walking at Opera on the Avalon and sings Jocasta in Stravinsky's Oedipus Rex with the Washington Chorus at The Kennedy Center, Brahms' Alto Rhapsody with The Riverside Choral Society, Rossini's Petite Messe Solennelle  with the New Choral Society and Missa Solemnis  with the Toledo Symphony. She will end the season singing Mahler's Symphony No. 2 "The Resurrection" with The Pacific Symphony and Orquesta Sinfonica de Costa Rica. 

Last season, Ms. Lattimore performed Mrs. Patrick DeRocher in Dead Man Walking at New Orleans Opera and on the concert stage sang Bach’s B-minor Mass with Soli Deo Gloria, Verdi’s Requiem with Opera Grand Rapids, Beethoven Symphony No. 9 with the Winter Park Bach Festival and Orquesta Sinfonica de Costa Rica.

Ms. Lattimore has become an audience and critic favorite for her one-of-a-kind portrayals throughout her repertoire. Opera News recently said of her singing in  The Rake's Progress at the Metropolitan Opera, “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.”  The New York Times has similar praise saying,  “Margaret Lattimore…brought an auburn glow to the part of Mother Goose.”The Houston Chronicle wrote of her performance in Verdi’s Requiem “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 Opera Today said of her performance in Rossini’s Le Comte Ory “Margaret Lattimore was luxury casting in the role Ragonde, her plummy mezzo as rich as chocolate mousse. An added bonus is that Ms. Lattimore 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


Ms. Lattimore’s recent concert engagements include Messiah with the Philadelphia Orchestra; Verdi Requiem with the Houston Symphony, The Spoleto Festival, The Winter Park Bach Festival, and The New Choral Society; Rossini’s Stabat Mater and Mozart’s Requiem with the Riverside Choral Society; Berenice with the American Symphony at Carnegie Hall; Mozart’s Mass in C minor in Eugene, Oregon; and Brahms’ Alto Rhapsody and Beethoven’s Symphony No. 9 with Sinfonica Nacional de Mexico and the Louisiana Philharmonic.


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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