Margaret Lattimore

Margaret Lattimore

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.

Artist Bio

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.

Last season, Ms. Lattimore performed as a soloist in Eugene Concert Choir’s concert entitled Beethoven Birthday Bash, performed the role of Mrs. Grose in Turn of the Screw with On Site Opera, Beggar Woman in Sweeney Todd with Michigan Opera Theater, and joined Santa Fe Opera for their production of Jenufa, Recent engagements include the role of Mrs. De Rocher in Dead Man Walking with Opera on the Avalon, Filipyevna in Eugene Onegin with the Canadian Opera Company, Bianca in The Rape of Lucretia with Boston Lyric Opera, and a return to The Metropolitan Opera for their production of Iolanta. She also performed Mahler’s Symphony No. 2 with both the Springfield Symphony and Sheboygan Symphony, and Verdi’s Requiem with the National Philharmonic. Engagements in 2020 were to include Aunt Hannah in Tobias Picker’s Emmeline with Tulsa Opera and a return to Pacific Symphony for Mahler’s 8th Symphony.

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. Since her house début at The Metropolitan Opera, Ms. Lattimore has performed the role of Gertrude in Roméo et Juliette, Praskowia in The Merry Widow, and the roles of Meg Page in Falstaff and Jordan Baker in The Great Gatsby, both under the baton of the James Levine. Additionally, she has joined the esteemed house for productions of Eugene Onegin, Les contes d’Hoffmann, The Exterminating Angel, and Iolanta.

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.”

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 Mahler’s Symphony No. 2 with Pacific Symphony, Costa Rica National Symphony, Sheboygan Symphony, and Bozeman Symphony; Bach’s B-minor Mass with Soli Deo Gloria; Messiah with the Philadelphia Orchestra; Verdi’s Requiem with the National Philharmonic at the Kennedy Center, 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.

Updated 4.27.21

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Press

"...among the most reliably characterful singers on the Met stage..." – Opera News

The Rake’s Progress – “Margaret Lattimore, like Appleby and Blythe 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."

“…rich, creamy sound” – The Zebra

Verdi's Requiem – “I had not heard Ms. Lattimore previously, but was delighted to hear her rich, creamy sound in the gorgeous duet, Recordare and the trio, Lux aeterna , both sung with the greatest of ease and assuredness.”

“...the most memorable scene, however, was dominated by Margaret Lattimore..." – UK Opera

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.”

"...she stopped time...” – The Boston Globe

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 principal bright spot was the remarkable performance of Margaret Lattimore..." – Opera News

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.”