Renée Tatum was superb as Amahl’s mother, with fine diction and a rich mezzo sound. She brought out the human quality in the drama
There is a special excitement in hearing her winged, large, flexible voice in the contained setting of the Irene Diamond space at Signature Center.
Tappan, Lauren McNeese, and Renée Tatum were superb Rhinemaidens, beautifully blended, yet each has such a distinctive sound that you could easily follow their individual lines.
Mezzo-soprano Renée Tatum was the most imposing, her chest voice full but also warm in the “Et incarnatus est” and “Crucifixus” sections.
Renée Tatum’s warm, seductive mezzo encompassed the complex and often conflicting emotions of Jenny Driver, wryly purring the faux lullaby of the "Solomon Song."
But I am blessed with a voice that keeps growing and changing, so I can sing an ever-wider variety of pieces. I feel that it is now turning the corner into a full, lyric voice capable of larger roles in a wide range of repertoire.
Hey, Renée! Meet Jenny of The Threepenny Opera We had the pleasure of talking to Renée Tatum who will be playing Jenny in Boston Lyric Opera's upcoming production of Kurt Weill's The Threepenny Opera. Renée also gave an exclusive performance for the BLO Orfeo Society. Read the interview and watch the
Tatum has all the assets required for modern opera stardom — blonde, bright-eyed good looks and a mega-watt smile; a confident, vivacious presence.
Tatum’s commanding stage presence is matched by a voice of imperial authority.
And in this large, fine cast the mezzo-soprano Renée Tatum stood out as La Haine (Hatred) in a chilling scene when Armide, having sought demonic help in exorcising her love for Renaud, collapses, unable to give her heart away.