OPERA FANTASTICA, BUCHAREST, MARCH 2017
Opera FANtastica - Laura Tatulescu - about her career and life - in conversation with Luminița Arvunescu
JENUFA IN MUNICH, MARCH 2017
Applause after a successful run of Jenufa performances at the Bayerische Staatsoper
LA BOHEME IN FLORENCE, DECEMBER 2016
A happy cast at the end of an exciting performance of La Boheme at Opera di Firenze / Maggio Musicale Fiorentino
FIDELIO IN CINCINNATI, JULY 2016
"(...) Rocco's daughter, Marzelline, performed with charm and a big voice by Laura Tatulescu (...)"
Cincinnati.com - Janelle Gelfand - 8 July 2016
The brilliant cast and part of the amazing Cincinnati Opera Chorus after the last Fidelio performance at the incredible Cincinnati Opera
FIDELIO IN CINCINNATI, JULY 2016
Rehearsals have started for Fidelio at Cincinnati Opera. Fourth House debut of the season!
APPLAUSE AFTER THE FINAL DON PASQUALE PERFORMANCE AT FLORIDA GRAND OPERA, MAY 2016
"The outstanding voices of the evening belonged to bass Kristopher Irmiter (Don Pasquale) and soprano Laura Tatulescu (Norina). [...] The perky and petite Tatulescu possesses a strong soprano, capable of the soaring runs, flutters and speedy clarity required for Norina. Her musing on how to ensnare a man (“So anch'io la virtù magica”) was delicious, claiming, “…a charm of a smile, a seductive look… are some of the thousand tricks to get my way in life.” Her duets with all three of the men were on the money, Tatulescu adjusting her character to fit the moment and man with whom she was dealing. Announcing that she was ready to carry out their elaborate plan, masquerading as Dr. Malatesta's sister to trick Pasquale into marrying her (“Pronta son; purch'io non manchi”), she and Nisticò matched up nicely for the lively duet. Tatulescu ascended and bloomed into her upper voice as Nisticò coached her on how to act "cat-like," a sexy persona she would exhibit throughout the opera. During the confrontation between Pasquale and Norina, Tatulescu’s detachment and indifference played beautifully against Irmiter’s bewilderment (“Via, caro sposino”), dismissing him with “…go to bed, Grampa,” her splendid runs a high point. She combined effectively with tenor Jesús Álvarez (Ernesto) for the love duet (“Tornami a dir che m'ami”), Donizetti sublimely and beautifully crafting the final intertwined notes with the tenor voice on top and soprano on the bottom. "
Miamiartzine - 15 May 2016
LE NOZZE DI FIGARO AT THE SEATTLE OPERA
Applause after a successful house debut as Susanna in Le Nozze di Figaro at Seattle Opera.
[...] Laura Tatulescu made her debut in Seattle with Susanna. The role matches nicely her vocal features and her energetic and cunning Susanna was one of the highlights of the production. [...]
Opera World - 20 January 2016
HOUSE DEBUT AT SEATTLE OPERA
Three performances of Le Nozze di Figaro added, marking an unexpected and exciting debut at Seattle Opera, on January 17, 24 and 29. Together with a great cast: Aubrey Allicock (Figaro), Caitlin Lynch (Countess Almaviva), John Moore (Count Almaviva) and Elizabeth Pojanowski (Cherubino), led by conductor Gary Thor Wedow.
A MIDSUMMER NIGHT'S DREAM, KLAGENFURT
The entire cast celebrated the opening night of the new production of A Midsummer Night's Dream at the Stadttheater Klagenfurt.
[…] einer herrlich phrasierenden Laura Tatulescu (Helena) ideal besetzt. [...] (And Laura Tatulescu with her splendid phrasing was ideally cast)
Kleine Zeitung - Helmut Christian - 31 October 2015
[...] Laura Tatulescu [...] war [...] eine energische Helena mit sicherer Stimmführung [...] (Laura Tatulescu was an energetic Helena with secure vocal technique)
Der Opernfreund - Hermann Becke - 30 October 2015
SYMPHONY NO 2 "RESURRECTION", G. MAHLER
"O’Connor’s and Tatulescu’s voices are well suited to the work, which calls for them to both sing solo and as a duet. When singing together, the musicians affected a dark, luxurious vocal timbre. [....] Tatulescu’s soprano passages in the fifth movement soared agilely above the orchestra and chorus."
The Atlanta Journal-Constitution - Jon Ross - 18 September 2015
LA FINTA GIARDINIERA, SANTA FE OPERA, USA
La Finta Giardiniera cast together after the last performance at Santa Fe Opera. With Susanna Phillips, Heidi Stober, Joel Prieto, Cecelia Hall, William Burden and Joshua Hopkins.
A wonderful summer has come to an end. Let the new season begin!
RECITAL AT TEATRO MAYOR, BOGOTA, COLOMBIA
Laura and Vlad were met with standing ovations at the end of their concert at Teatro Mayor in Bogota, Colombia, on June 4, 2015
DIALOGUES DES CARMELITES, RUN COMPLETE
Successful run of Les Dialogues des Carmélites at Stadttheater Klagenfurt.
"(…) how Laura Tatulescu embodies the prophetic, mortally fearful Blanche is impressive vocally and scenically perfectly realized."
Der Standard, Michael Cerha - February 16, 2015
DIALOGUES DES CARMELITES, IN REHEARSAL
The rehearsals for Dialogues des Carmélites have started at Stadttheater Klagenfurt. Performance dates are February 12, 14, 18, 20, 21, 24, 26 and March 1, 4, 6.
With stage director Richard Brunel and Evgeniya Sotnikova as Soeur Constance. Photo: Jean-Louis Fernandez
NEW PHOTOS IN GALLERY
New photos from the concert at the Philharmonic in Cluj Napoca in December were added in the photo gallery section.
WATCH THE NEW PROMO VIDEO
Here's a sneak peek from the recording session of the future album, at the Radio Hall in Bucharest, together with the pianist Vlad Iftinca.
NORINA IN DON PASQUALE AT THE SANTA FE OPERA
"The earthy Italian neo-realist actress, Anna Magnani, had a telling nickname, “La Lupa,” that might easily be applied to Norina, sung by SFO newcomer, Laura Tatulescu. She first presents as a cynical gal in a black slip, down on her luck and ready to scheme with Malatesta for a chance at Ernesto plus a probable cash windfall. Her transformation from pretend-shy innocent to Pasquale’s termagant “bride” makes for edgy fun. Tatulescu commands a terrific trill, confident passagework and plenty of red hot brio"
Santa Fe Reporter - John Stege, 8 July 2014
DEBUSSY AT THE GEWANDHAUS IN LEIPZIG UNDER MAESTRO JAMES GAFFIGAN, WITH THE MDR CHORUS AND ORCHESTRA
"Die Sopranistin Laura Tatulescu verzaubert mit Anmut und bringt später genügend Volumen für triumphierend entfesselnde Klangpracht mit." (Soprano Laura Tatulescu enchants with grace, later bringing enough volume for a triumphant sound)
Leipziger Volkszeitung - Birgit Hendrich, 8 April 2014
Photo: Stephan Witschas
New videos from Laura Tatulescu's most recent concerts.
CLASSIC MEETS PIAZZOLLA
Laura Tatulescu performed together with the Muenchener Klaviertrio (Donald Sulzen - piano, Gerhard Zank - cello and Michael Arlt - violin) at the Allerheiligen Hofkirche in Munich on January 19 and 21
FOUR RECITALS COMING UP IN MUNICH
Laura Tatulescu will perform four recitals at the Allerheiligen Hofkirche in Munich. On January 19 (at 11am) and 21 (at 8pm) she will be joined by the Münchner Klaviertrio (Violin - Michael Arlt, Violoncello - Gerhard Zank, Piano - Donald Sulzen). On February 23 (at 11am) and 25 (at 8pm) she will be joined by Adrian Lazar, violin, Jakob Spahn, violoncello and Anna Hauner, piano.
More details, on the website of the Bayerische Staatsoper
THREE DIVAS CONCERT
Laura Tatulescu returns to Bucharest for a Gala concert at the Radio Hall on December 20. Joining her on stage will be soprano Elena Moșuc, mezzo soprano Ruxandra Donose and the National Radio Orchestra and Chorus conducted by David Crescenzi
Laura Tatulescu will make her role debut as L'enfant in Maurice Ravel's L'enfant et les sortilèges on the stage of Bayerische Staatsoper. There are three performances scheduled on October 20, 25 and 27
SUSANNA IN LE NOZZE DI FIGARO IN NEW YORK AND BERLIN
After a successful run of Le Nozze di Figaro at the Glyndebourne Festival, Laura Tatulescu brought her "sweet-voiced and feisty Susanna" (The New York Times - August 2013) to the Mostly Mozart Festival in New York and the Konzerthaus Berlin this August, receiving exceptional reviews.
BACKSTAGE AT GLYNDEBOURNE by OPERA CHIC
OperaChic and Sinfini Music get a lesson from Glyndebourne's head of makeup, Sarah Piper, on how to transform her leading ladies into Sixties vamps for Le nozze di Figaro. And here's how the change takes place:
[...] For Nozze’s leading ladies, backstage beauty begins two hours before curtain-up with hair prep as the hair’s natural profile is minimised with pin-curls anchored to the scalp, secured with a gauze wrap and topped with a clean stocking cap to accommodate wigs.
Additional 1960s beauty trends were canonised – for instance the classic, monochromatic eye created for Tatulescu’s Susanna, which had been scrupulously polished from the first piano dress rehearsal to the opening night bow.
Over Tatulescu’s flawlessly primed skin Piper built up an impasto layer of matte white eye shadow onto the eyelid. A deep, smoky-black line was drawn into the eye socket and run to the outer edge of the eyelid, ‘almost like a black shadow line in the crease, which became quite typical of the 1960s. It was an exciting period because it was the first time in the postwar era that fashion was youth-oriented,’ Piper said. Upper lashes swathed in mascara were topped by a false lash layer and the eye was defined along the lower lid with a precise stroke of black cream eyeliner applied with a fine brush.
On her lips, in addition to a bright pink shade from Kevyn Aucoin Beauty, Piper turned to the 40-year-old, London-based beauty brand Cosmetics à La Carte, with a special request that she knew its team of chemists could accommodate: a historically sourced, handmade palette of lipsticks in nude, pink and coral hues indigenous to the 1960s that been discontinued decades ago.
Crowned with a swept-back, blond, up-do wig over a pixie-collar A-line dress, Tatulescu wore the bespoke lipstick and the punched-in, graphic eye under an arched brow [...]
Photo: Sinfini Music
Make up artist: Annabelle Miller
Hairstylist: Nathalie Dupont
SUSANNA IN LE NOZZE DI FIGARO AT GLYNDEBOURNE FESTIVAL
But it is Laura Tatulescu who steals the evening with a feisty Susanna, full of energy in both her singing and her physical presence on stage says Andrew Kay in thelatest.co.uk about Laura's performance as Susanna after the opening night of Le Nozze di Figaro at the Glyndebourne Festival on June 8, 2013
FOLLOW THE OFFICIAL PAGE ON TWITTER
LE NOZZE DI FIGARO IN BUDAPEST
Three successful performances at the Művészetek Palotája - Müpa - Palace of Arts in Budapest in February 2013
Here's a curtail call photo after the first performance. From left to right: Rodolphe Briand, Ann Murray, Rachel Frenkel, Miah Persson, Hanno Müller-Brachmann, Iván Fischer, Laura Tatulescu, Roman Trekel, Robert Lloyd, Norma Nahoun, Matteo Peirone
SCHEDULE AND PHOTO UPDATE
The SCHEDULE has been updated with performances in August 2013:
*Susanna in Le Nozze di Figaro at the Rose Theatre in Lincoln Center, New York on August 11, 13 and 15
*Susanna in Le Nozze di Figaro at the Konzerthaus Berlin on August 22
LE NOZZE DI FIGARO IN BUDAPEST
Laura Tatulescu will perform the part of Susanna in Le Nozze di Figaro at Béla Bartók National Concert Hall in Budapest. There are three performances scheduled on February 13, 15 and 17. Iván Fischer will conduct the Budapest Festival Orchestra.
In November and December, performances at Bayerische Staatsoper: 1st Woodnymph in Rusalka by Dvorak, Erste Dame in The Magic Flute by Mozart, Musetta in La Boheme by Puccini and Gretel in Hansel and Gretel by Humperdinck.
Laura Tatulescu made her debut at Carnegie Hall (Weil Hall) New York, performing works by Lipatti, Enescu, Jora, Ravel and Silvestri in a recital with Matei Varga (piano) and Vlad Iftinca (piano) entitled Lipatti and his World. The event was organized by the Romanian Cultural Institute in New York. The program included two US premieres:
• Fantasy op. 8 for piano – U.S. Premiere
• Nocturne in F sharp minor – U.S. Premiere
• Cinq Mélodies sur des Poèmes de Paul Verlaine op. 9 – Deux arriettes oubliees: “Il pleure dans mon cœur” & “Le piano qui baise une main frele”
• Sept chansons de Clement Marot op. 15
• “Pavane” and “Bouree” from Piano Suite no. 2 op. 10
JORA: “Cantec din fluier”; “Tu esti un lac”; “Lupii”
RAVEL: Ma mère l’oye for piano four hands
SILVESTRI: Romanian Folk Dances from Transylvania op. 4, no. 1, for piano four hands (on themes from the Bela Bartok)
Laura Tatulescu with Vlad Iftinca (left) and Matei Varga (right)
Two spectacular Cosi fan tutte performances in concert at Usher Hall, Edinburgh (October 3) and City Hall, Glasgow (October 5). Sally Matthews – Fiordiligi, Rachel Frenkel – Dorabella, Laura Tatulescu – Despina, Maximilian Schmitt – Ferrando, Adam Plachetka – Guglielmo and Christopher Maltman – Don Alfonso were accompanied by the Scottish Chamber Orchestra conducted by Robin Ticciati.
Laura Tatulescu acted well as Despina and was at her best in her solo numbers (Seen and Heard International).
Christopher Maltman’s Don Alfonso and Laura Tatulescu’s Despina projected their words like native Italians, and there was just the right level of confidentiality between stage and audience: everyone “acted” as if for real (Financial Times)
La Boheme on the stage of Bavarian State Opera during the Opera Festival together with Angela Gheorghiu (Mimi), Joseph Calleja (Rodolfo) and Levente Molnar (Marcello).
Angela Gheorghiu (left), Levente Molnar, Laura Tatulescu (right)