Mezzo-soprano Tara Curtis is establishing herself as an "impressively full-voiced, dramatic" singer of operatic and concert repertoire. Her "keen, bright mezzo, darkened with raw edges" with its "arresting power and radiant tone" has been hailed as "a natural fit for Verdi."  

With the rise of COVID-19 playing havoc the world over, Tara took the time to move back to the midwest from NYC, to be closer to family. Leaving the city gave her the opportunity to return to teaching, and is currently working at Ottawa University as an Adjunct Professor of Voice and was a Visiting Artist Professor at the University of Kansas in 2021. In April, she was able to return to performing, returning to the Opera Company of Middlebury to play The Old Lady in a filmed version of Bernstein’s Candide. In May of 2022, she will return to the Penn Square Music Festival as a member of their Musical Theatre Cabaret.

2019 engagements included Manuel de Falla’s El Amor Brujo with the Atlantic Classical Orchestra, a company and role debut with Syracuse opera as Mrs. Peachum in The Threepenny Opera and the role of Madame de la Haltière in Cendrillon with the Opera Company of Middlebury.

2018 began with a return to the role of The Old Lady in Candide with Opera in the Heights. She then made her international debut in Canada with Opera on the Avalon as Hannah After in the popular new opera, As One. 

In summer 2017 she returned to St. Petersburg Opera as a principal artist in two role debuts: the Voice of Antonia's Mother in Les Contes d'Hoffman and, immediately following, the Witch in Sondheim's Into the Woods. Autumn brought another impressive role and company debut as Marthe Schewertlein in Faust with Tulsa Opera. She returned to her alma mater, the University of Missouri, in November to be a soloist in their 100th Anniversary concert of Elijah.

Tara sang the 2016-2017 season with Palm Beach Opera as a member of their Benenson Young Artist Program. While there, she sang the roles of Giovanna in Rigoletto and Kate in The Pirates of Penzance and covered Suzuki in Madama Butterfly, Maddalena in Rigoletto and Ruth in The Pirates of Penzance, also singing the family performance as Ruth.

In the 2015-2016 season Tara sang Mozart’s Requiem with the Staley Chorus Ensemble in Kansas City. She returned to Sarasota Opera as Imelda in the rarely performed Verdi opera, La Battaglia di Legnano and covered the role of Amneris in Aida. She also debuted with Wichita Grand Opera as Ruth in Pirates of Penzance. In the summer of 2016, she was a participant in the Merola Opera program for a second, consecutive year where she sang excerpts in the Schwabacher Summer Concert Series including Baba the Turk in The Rake’s Progress, La Prieure in Dialogues des Carmélites and Ragonde in Le Comte Ory, and for the Merola Grand Finale concert, Cassandre's first aria from Berlioz's Les Troyens. In the fall of 2016, Tara worked with St. Petersburg Opera as an emerging artist, covering the role of Azucena in Verdi's Il Trovatore.  ​  

Tara had a number of company and role debuts in the 2014-2015 season: Verdi’s Requiem with the University of Missouri Concert Series and Galesburg Community Chorus. She was a Studio Artist with Sarasota Opera, covering the roles of Marcellina in Le nozze di Figaro and Amelfa in Rimsky-Korsakov’s The Golden Cockerel.  In summer 2015 she was a participant in the prestigious Merola Opera program singing the role of Zita in Puccini's Gianni Schicchi and Azucena's aria, "Condotta ell'era in ceppi" from Verdi's Il Trovatore in the Grand Finale Concert.​ 

Other credits include Lyric Opera of Kansas City, Trentino Music Festival, Crested Butte Music Festival, Janiec Opera Company at Brevard Music Center, and numerous roles at the University of Kansas, the Boston Conservatory and the University of Missouri. She has sung Third Lady in Mozart’s The Magic Flute, the title role in Britten’s The Rape of Lucretia, Cornelia in Handel’s Giulio Cesare, Mrs. Herring in Britten’s Albert Herring, Mother Marie in Poulenc’s Dialogues of the Carmelites, Inez in Verdi’s Il Trovatore, Berta in Rossini’s Il Barbiere di Siviglia and Der Trommler in Ullmann’s Der Kaiser von Atlantis.  Tara was the alto soloist in Beethoven’s Mass in C Major and Choral Fantasie, Handel's Messiah, Haydn's Stabat Mater, Mendelssohn's Elijah, Bach's Mass in B Minor and Cantata 140, Vivaldi's Magnificat, Brahms' Liebeslieder Waltzes, Elgar’s Sea Pictures, Mahler’s Kindertotenlieder and Bernstein’s Arias and Barcarolles.   

Tara was a Merola Opera Career Grant winner, Regional Finalist in the Metropolitan Opera National Council Auditions - Midwest Division, Second-Place winner in the art song division of The American Prize: Friedrich and Virginia Schorr Memorial Award as well as a semi-finalist in the opera division and for the Chicago Oratorio Award, a finalist in the Brava! Opera Theatre James M. Collier Competition and a recipient of the Polsky Award from the Lyric Opera of Kansas City.