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Jonita Lattimore, soprano...

b i o g r a p h y...........back to roster....up July 2012 Jonita Lattimore, a lyric soprano of immense vocal range and expressive musicality, has garnered plaudits for her vivid portrayals of roles ranging from Micaela to Jackie O as well as oratorio performances with major orchestras across the United States and abroad. John von Rhein from the Chicago Tribune calls Lattimore’s soprano a "richly upholstered voice with secure line and coloratura." She "is surely destined for great things." Her performance in Barber’s Knoxville: Summer of 1915 with Concertante di Chicago was praised by the same paper for her "dusky low notes and effortless clarion upper range." Her latest CD, Only Heaven, a collaboration of five singers, (PS Classics) was called "the most distinctive music heard all season" (USA Today), producing "spine chills and teary eyes" (Ft. Worth Star-Telegram). Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the City of Mahagonny, and was also seen on Lyric’s stage as Micaela in Bizet’s Carmen. She recently performed the role of Countess Almaviva in Le Nozze di Figaro with Tulsa Opera, and debuted in the title role in the world premiere and recording of James Niblock’s Ruth at Blue Lake Fine Arts Festival. With Houston Grand Opera she appeared as Marguerite in Faust, First Lady in Die Zauberflöte, and presented the world premieres of Harvey Milk, The Book of the Tibetan Dead, and Jackie O, which was recorded on Decca. She made her Paris debut at the Bastille Opera as Serena in Porgy and Bess. 2011/12 offered returns to the Orequesta Sinfonica Nacional de Mexico in Beethoven’s Ninth Symphony, a work she repeated with the Nashville Symphony, and the Mozart Requiem with both Vermont Symphony and Louisiana Philharmonic. She also sang Rossini’s Stabat Mater at the Grant Park Music Festival. Among the 2010/11 highlights figured Haydn’s Paukenmesse with the Sinfonica Nacional de Mexico and concerts with the Charlotte Symphony. The 2009/10 season included a debut with Orquesta Sinfonica Nacional de Mexico and returns to the Houston Symphony, Huntsville Symphony, Grant Park Music Festival and Chicago Sinfonietta. During the 2008-09 season, Lattimore sang Serena in the Lyric Opera of Chicago’s production of Porgy and Bess, the Fauré Requiem with Eugene Symphony and Verdi’s Requiem with the Virginia and Colorado symphonies. During the summer, she returned once again to the Grant Park Music Festival, this time in Torke’s Plans. After a busy summer performing in what was Xalapa Symphony’s first performance of Magic Flute and a return to the Grant Park Music Festival under Carlos Kalmar in Vaughan Williams’ Dona Nobis pacem, season 07/08 brought Lattimore to the Moab Music Festival and the Oakland East Bay Symphony in Verdi’s Requiem. Appearances with the Louisiana Philharmonic under Carlos Miguel Prieto in Brahms’ Requiem and selections of Gershwin’s Porgy and Bess completed the season. During summer she performed Szymanowsky’s Stabat Mater at Grant Park. Other recent oratorio and symphonic highlights include the Dvorak Requiem with the N. O. Tonkünstler Orchestra of Vienna, the Brahms Requiem in her debut with the Northern Israel Symphony, Beethoven’s Ninth Symphony with the Winter Park Bach Festival, Elgin Symphony and Albany Symphony, Britten’s Spring Symphony as well as the Brahms Requiem and Rosenkavalier all at Grant Park Music Festival, and Bernstein’s Songfest with the Chicago Sinfonietta. In 2003 she performed Mozart’s Exultate Jubilate and a Live at Ravinia concert of Berlioz selections, which aired live on WFMT, Chicago’s public broadcast radio network. With Boston Landmarks Orchestra she sang operatic arias and a world premiere ensemble work for three sopranos, May We Live, by Boston composer, Patricia Van Ness. Overseas, she appeared at the Edinburgh Festival and debuted in Italy with the Orchestra della Toscana in concerts and radio performances. An artist profile of Jonita Lattimore was aired on Artbeat Chicago, an arts television program on WTTW-Chicago’s Public Broadcast System entitled Home Grown Diva; and she is featured on WTTW’s Opera Philes, a program of favorite opera arias and ensembles. She is the soprano soloist in Robert Avalon’s Sextet de Julia de Burgos, recorded on Centaur. click to read Jonita Lattimore's resume (Microsoft Word) b i o g r a p h y ...... r e s u m e ...... r e v i e w s back to roster...up . . . .

r e v i e w s...........back to roster....up Creating the title role of The Dying/The Dead in the world premiere of Ricky Ian Gordon’s THE BOOK OF THE TIBETAN DEAD: OPERA NEWS As the Dying/Dead One, dramatic soprano Jonita Lattimore had no music to sing until Scene 11, when she made up for the delay with a splendidly performed aria, "Realizing I am dead". - Carl Cunningham PHILADELPHIA WEEKLY The singers are uniformly good, particularly the Dying One, Jonita Lattimore. -Violet Phillips THE PHILADELPHIA INQUIRER The singers…caught the flavor of the musical styles as well as the contemporary attitudes. Jonita Lattimore, the dead woman, made her aria a musical summit. -Daniel Webster SAN ANTONIO EXPRESS-NEWS Jonita Lattimore soars in an aria of grand breadth and freedom and came particularly to the lore. -Mike Greenberg In her debut with the Houston Symphony Orchestra in Manuel de Falla’s The Three-Cornered Hat: HOUSTON CHRONICLE He (Falla) used the two brief soprano solos, sung fetchingly by Houston Opera Studio soprano Jonita Lattimore… -Charles Ward Playing the role of Clotilde in Houston Grand Opera’s production of Norma with Carol Vaness and Susanne Mentzer: HOUSTON CHRONICLE …Jonita Lattimore rounded out the cast excellently in the role of Norma’s confidante Clotilde. -Charles Ward Receiving formidable attention for her performances as St. Teresa I in Chicago Opera Theater’s production of Virgil Thompson’s Four Saints in Three Acts: OPERA NEWS The evening’s brightest vocal discovery was Jonita Lattimore as St. Teresa I, a beautiful well schooled and expressive soprano voice that is surely destined for great things. -John von Rhein CHICAGO TRIBUNE The evening’s brightest vocal discovery was Jonita Lattimore as St. Teresa I, a beautiful well schooled and expressive soprano voice that is surely destined for great things. -John von Rhein CHICAGO SUN-TIMES Lattimore…fine Teresa…commanding and warm. -Wynne Delacoma CHICAGO DEFENDER Jonita Lattimore, St. Teresa I…audiences have listened to her amazing talent since she was a young girl; (the audience) remained fascinated at the gorgeous texture of her voice as she brought to the music a vivid and forceful conviction. -Earl Calloway WINDY CITY TIMES As St. Teresa I, Jonita Lattimore’s soaring, dewy-fresh soprano recalled the young Leontyne Price… -Jason T. McVicker From a recital appearance at Weill Recital Hall in Carnegie Hall: THE VOICE …there was one singer that revealed a most talented and sensitive artist. Jonita Lattimore drew bravos from the audience for singing with poise and polish. Her flowing legato showed fine training and a deep understanding of the music. -O. Gaston GEORGE LONDON FOUNDATION FOR SINGERS NEWSLETTER Jonita Lattimore fully realized Pamina’s sense of devastating loss in "Ach, ich fuhl’s" from The Magic Flute. -Nancy Newman At the grand event Dreaming of Divas, sponsored by the Houston Grand Opera: HOUSTON CHRONICLE …the sweet soprano notes of Jonita Lattimore held the gathering of 1,000 in rapt attention. -Shelby Hodge Performing at the Ravinia Festival with the Lyric Opera Center for American Artists and the Ravinia Festival Orchestra: CHICAGO TRIBUNE Soprano Jonita Lattimore was a clear audience favorite for the emotionally turbocharged rendering of "My Man’s Gone Now" from Gershwin’s "Porgy and Bess"… -Lawrence Johnson Performing Beethoven’s Symphony No. 9 with the Fort Worth Symphony for the July 4, 1998 Celebration: STAR-TELEGRAM …the quality of the soloists was obvious…and rising Chicago-born soprano Jonita Lattimore was clearly at ease with the notorious difficult solo role. -Wayne Lee Gay Performing a Gershwin Gala with the Fort Worth Symphony Pops Orchestra: STAR-TELEGRAM …soprano Jonita Lattimore combined a full-bodied operatic tone with easy, musical theater phrasing to brilliant effect. -Punch Shaw Performing as Micaela in Carmen with the Lyric Opera Center for American Artists in the Grant Park Music Festival: CHICAGO TRIBUNE Chicago native Jonita Lattimore, the most experienced singer, made a splendid Micaela. -John von Rhein CHICAGO SUN-TIMES Jonita Lattimore, who sang Micaela’s prayer against Navy Pier’s bursting fireworks, has a strong, fresh soprano, and her unflappable concentration deserved the audience’s bravos. -Wynne Delacoma In a symphonic concert with the Charlotte Symphony: SUN HERALD And then it was time to hear what the Chicago Tribune’s John von Rhein termed "a soprano voice…surely destined for great things." Mozart’s "Exsultate, Jubilate Motet, K 165" belongs with the songs of the angels, and soprano Jonita Lattimore truly performed it angelically. The standing ovation and repeated "bravos" Lattimore received told the whole story. She has frequently been compared to the young Leontyne Price, and the audience recognized and fittingly showed its appreciation for her remarkable talent…Carlisle Floyd’s poingnant song, "Trees on the Mountain" (Susannah) was breathtakingly performed by Lattimore with passions parallel to the heart-breaking story of the moving and gripping composition. "My Man’s Gone Now" (Porgy and Bess) sung both compellingly and torridly, brought tears to the eyes of many. Once, twice, maybe three times in a lifetime one hears a never-to-be-forgotten musical talent, and tonight is one of those times. -Kathy Hollinger The arrival of Lattimore to sing Mozart’s "Exsultate Jubilate, K 165" had the same effect as setting off a charge of dynamite. Hers is a voice to rejoice about. She has the lyric soprano’s wide range of styles, from light, even glancing tremolos to powerful, full-bodied expressiveness. Her high notes show no sign of strain or overlays of breathiness.. When she sang "hallelujah", one wanted to second the notion. -Naomi Donson Performing Donna Anna from Mozart’s Don Giovanni with the Lyric Opera Center for American Artists at the Grant Park Music Festival: CHICAGO TRIBUNE …soprano Jonita Lattimore, perhaps the most experienced of the group, sang a luscious "Non mi dir" with secure line and coloratura…with her richly upholstered voice… -John von Rhein CHICAGO SUN-TIMES Jonita Lattimore, whose career is already in good swing, was a suitably outraged Donna Anna in Don Giovanni, her "Non mi dir" approaching heartbreak. -Andrew Patner Performing as the soprano soloist in the Chicago premiere of Gustav Holst’s 1925 Choral Symphony, and excerpts from Grieg’s Peer Gynt with the Grant Park Symphony and Chorus: CHICAGO TRIBUNE Soprano soloist Jonita Lattimore soared vicrantly and confidently in her role as a weeping woman interrupted by revelers or later when completing the chorus’ "Beauty is truth, truth beauty" with quiet reassurance. She was a pleasure to hear. Lattimore sang Solvejg’s song with ravishing purity and sweetness. -John von Rhein Performing Beethoven’s Symphony No. 9 with the Grant Park Symphony and Chorus: CHICAGO SUN-TIMES The vocal quartet, led by soprano Jonita Lattimore… also operated of Carlos Kalmar’s (the conductor) wavelength…with astonishing clarity and musical integration. -Andrew Patner CHICAGO DEFENDER How fabulous it was to witness the superb artistry and the triumphant singing of soprano Jonita Lattimore as she was heard in the final movement of Beethoven’s "Ninth Symphony" at Grant Park…Miss Lattimore sang with an excellent vocal richness, technique and a refined, artistic sense of what she was about interpreting with great zeal. Her sumptuous and lyrical voice leaped over the intervals with the greatest of ease and profound penetration and communicative strength. -Earl Calloway Performing the role of Micaela in the student matinee of the Lyric Opera of Chicago’s production of CARMEN: THE CHICAGO CRUSADER …Jonita Lattimore, as Micaela, (an) excellent singer who could have been programmed for the regular evening performances instead of the matinees. Miss Lattimore acted and sang with the assurance of an experienced "pro" and exhibited vocalism with near-perfect placement in the upper register, and a warm, lush quality in the "mezzo-voce" and lower register. She is blessed with the vocal range of a coloratura soprano and the power and dynamic ability of a dramatic soprano. A rare combination, indeed. -Barbara Wright-Pryor Performing Barber’s KNOXVILLE: SUMMER OF 1915 with Concertante di Chicago: CHICAGO TRIBUNE Knoxville…was lovingly dispatched by Kagan (conductor) and soprano Jonita Lattimore…her dusky low notes and effortless clarion upper range provided the high points of the afternoon. -Michael Cameron Performing chamber music with the American Concerto Orchestra, produced by Performing Arts Chicago: CHICAGO TRIBUNE (Stephen Burns, conductor) shared star billing with soprano Jonita Lattimore, who ranged effortlessly from Bach cantatas to spirituals; Lattimore sang arias from two of the Bach "Passions" — the St. Matthew and St. John — and from Cantata 51, "Jauchzet Gott". She has a fine voice, powerful without effort, bright and rich in overtones. The "St. John" aria, "I follow thee gladly", illustrated itself, with the flute echoing the vocal line. In the cantata Lattimore’s slow-paced line made a serene overlay to the racing excitement in the strings. Lattimore offered "Five Songs of Laurence Hope", by Harry Burleigh…her voice was a treat. She closed with two spirituals, "I Wonder as I Wander" and "Mary’s Boy Child", in a swingy Jamaican eat. They were delightful. -Dan Tucker b i o g r a p h y ...... r e s u m e ...... r e v i e w s back to roster...up . . . .