Laura Tatulescu


It must be said that Laura Tatulescu’s Brechtian figure, tinged with social realism – her magnetic voice, ample, dark – was passionate from beginning to end.

- Le Magazine du Monde Lyrique (Opera de Lille, Così fan tutte, October 2017) -


Romanian-American soprano Laura Tatulescu has gained recognition for her beauty of voice and her exciting portrayals on the operatic and concert stage. She has performed under the batons of such eminent conductors as Riccardo Muti, Seiji Ozawa, Philippe Jordan, Adam Fischer, James Conlon, Marco Armiliato, Sebastian Weigle, Danielle Gatti, Kent Nagano, Andris Nelsons, Peter Schneider, Constantinos Carydis, Ivor Bolton and Harry Bicket.

The season 2018-19 sees her debut at Korea National Opera in a new production of Così fan tutte as Despina and return to Seoul later in the season as Jemmy in Rossini’s Guillaume Tell. She returns to the Bavarian State Opera for performances of Janáček’s Jenůfa as Karolka and to Opéra de Lille for a recital with Romanian composer and pianist Ana Giurgiu-Bondue. She also sings Marzelline in Fidelio with the Atlanta Symphony Orchestra conducted by Robert Spano.

In the 2017-18 season Ms. Tatulescu made her house debut at Opéra de Lille as Despina in Mozart’s Così fan tutte conducted by Emmanuelle Haïm and directed by Christophe Honoré. She then returned to Seattle Opera as Despina in a production conducted by Paul Daniel and directed by Jonathan Miller. She also returned to the Bavarian State Opera to sing Echo in Ariadne auf Naxos. In concert she appeared with the Münchner Rundfunkorchester performing Tout est lumière by André Caplet. She ended the season with the world premiere of Thierry Huillet’s opera in concert Requiem at the Abbaye de Sylvanes in summer 2018.

Ms. Tatulescu’s 2016-17 season included her debut with Maggio Musicale Fiorentino as Musetta in Lorenzo Mariani’s production of La bohème conducted by Daniel Oren and return to the Bavarian State Opera as Karolka in Jenůfa conducted by Tomáš Hanus. She also sang Mahler’s Symphony No. 2 with the Jacksonville Symphony and appeared as soloist in the new multimedia production Catarsi by Benedikt Brachtel and the AGORA Musiktheaterkollektiv during the Münchner Opernfestspiele.

After acclaimed performances at Santa Fe Opera in summer 2015 as Serpetta in Mozart´s La finta giardiniera, conducted by Harry Bicket and directed by Tim Albery, the 2015-16 season included a number of exciting debuts for Ms. Tatulescu. She started the season singing Mahler’s Symphony No. 2 with the Atlanta Symphony Orchestra under Robert Spano, joined Seattle Opera as Susanna in Mozart’s Le nozze di Figaro conducted by Gary Wedow and directed by Aidan Lang, took to the stage at Florida Grand Opera as Norina in Donizetti’s Don Pasquale, conducted by Ramón Tebar and directed by Renaud Doucet, and lastly portrayed Marzelline in Beethoven’s Fidelio with Cincinnati Opera. She also returned to Stadttheater Klagenfurt for her role debut as Helena in Britten’s A Midsummer Night´s Dream, conducted by Alexander Soddy and directed by Immo Karaman. This followed an acclaimed role debut as Blanche de la Force in Poulenc´s Dialogues des Carmélites in Klagenfurt the previous season, also under the baton of Alexander Soddy and directed by Richard Brunel.

In the 2013-14 season, Ms. Tatulescu returned to the Bavarian State Opera singing her signature Mozart roles such as Zerlina in Don Giovanni under Louis Langrée, Despina in Così fan tutte under Mark Wigglesworth, and the First Lady in Mozart’s Die Zauberflöte under Ivor Bolton, as well as Musetta in La bohème under Marco Armiliato and the title role in Ravel’s L’enfant et les sortilèges. She ended the season by making her debut at Santa Fe Opera as Norina in a new Laurent Pelly production of Don Pasquale under the baton of Corrado Rovaris. She could also be heard in concert with the MDR Rundfunkorchester under the baton of James Gaffigan as soprano soloist in Debussy’s La Damoiselle élue and Le martyre de Saint Sèbastien and in a chamber concert under the auspices of the Bavarian State Opera at the Allerheiligen Hofkirche in Munich, featuring songs by Haydn, Beethoven, Wolf and Blacher.

Ms. Tatulescu started the 2012-13 season as Despina in concert performances of Mozart’s Così fan tutte with the Scottish Chamber Orchestra under Robin Ticciati, followed by a recital at Carnegie Hall’s Weill Recital Hall in a programme dedicated to the music of Romanian composer Dinu Lipatti. She then returned to the Bavarian State Opera to sing roles such as Gretel in Hänsel und Gretel, Erste Dame in Die Zauberflöte and Musetta in La bohème. The character of Susanna in Le nozze di Figaro is one of her signature roles and took a central place in the season: she sang Susanna for her debut with the Glyndebourne Festival in performances conducted by Jérémie Rohrer and in concert performances with Iván Fischer and the Budapest Festival Orchestra in Budapest, followed by additional performances at the Mostly Mozart Festival in New York and with the Konzerthausorchester Berlin to open their 2013-14 season.

Ms. Tatulescu’s 2011-12 season included her house debut at English National Opera as Phoebe in a new Barrie Kosky production of Rameau’s Castor and Pollux, conducted by Christian Curnyn. The production won the 2012 Olivier Award for Best New Opera production.

The 2009-10 season saw Ms. Tatulescu join the ensemble of the Bavarian State Opera in Munich, where she sang Zerlina in a new production of Don Giovanni. Her roles in Munich have included Susanna in Le Nozze di Figaro, her role debut as Adina in L’Elisir d’Amore, Creusa in Mayr’s Medea in Corintho, and Marzelline in a new production of Fidelio conducted by Daniele Gatti and directed by Calixto Bieito. During the Munich Opera Festival in 2011 she created the role of Hanna in Miroslav Srnka’s Make No Noise accompanied by Ensemble Modern, and also sang Zerlina and Marzelline, for which she received the prestigious Festival Prize for that summer.

Ms. Tatulescu’s 2008-09 season was marked with a series of celebrated debuts. She made her US and role debut as Lauretta in Woody Allen’s celebrated new production of Gianni Schicchi to open the season at Los Angeles Opera. Her performance as Lauretta was praised for being “alluringly sung” (New York Times) and “uncommonly sexy” (LA Times). The production was conducted by James Conlon and was also presented at the Spoleto Festival in Italy in the summer of 2009. She also made her debut with the Bavarian State Opera as Susanna in Le nozze di Figaro. Ms. Tatulescu’s performances with the Vienna State Opera have included Musetta in La bohème, Marzelline in Fidelio, Pamina in Die Zauberflöte, Sophie in Werther under Marco Armilliato, her role debut as Susanna in Le nozze di Figaro under Philippe Jordan, Despina in Così fan Tutte in performances in Vienna under Riccardo Muti and at the Amsterdam Concertgebouw under Peter Schneider, and opera gala concerts with the Vienna Philharmonic in Tokyo and Nagoya in Japan.

Her orchestral repertoire covers a wide range of Oratorio and concert repertoire, including works by Bach and Mozart, Mendelssohn’s Elijah, Gorecki’s Third Symphony, Pergolesi’s Stabat Mater, Poulenc’s Gloria, Faure’s Requiem, and Vivaldi’s Gloria. In the 2010-11 season, she gave a celebrated concert at the Dvorak Hall of the Rudolfinum in Prague with the Prague Philharmonia under Jakub Hrusa and could be heard in recital at Teatro Mayor in Bogota, Columbia, with pianist Vlad Iftinca in 2015.

Born in the USA, she started her musical education as a violinist. She later graduated with a Masters Degree in Opera from the National Music University in Bucharest, Romania. She made her professional opera debut in 2004 at the Romanian National Opera in Bucharest. She lives in Munich.

Artist Website


General Management:
Thomas Channell
M: +49 (0)171 212 6728

Rocco’s daughter, Marzelline, performed with charm and a big voice by Laura Tatulescu (…) had the audience chuckling out loud.

Cincinnati Enquirer (Marzelline in Fidelio, Cincinnati Opera, July 2016)

Laura Tatulescu war mit sensiblem Sopran eine starke Blanche, brachte deren Zerbrechlichkeit auch stimmlich vollkommen zum Ausdruck und überzeugte in der Darstellung der Wandlung vom verzagten Wesen zur mutigen Märtyrerin.

Das Opernglas (Blanche in Les Dialogues des Carmélites, Theater Klagenfurt, April 2015)

Tatulescu’s soprano passages in the fifth movement soared agilely above the orchestra and chorus.

Atlanta Journal-Constitution (Atlanta Symphony, Mahler Symphony No. 2, September 2015)

Tatulescu’s Susanna is outstanding, witty, personable, agile-voiced but able to flood with warmth at the right moment.

The Arts Desk (Susanna in Le Nozze di Figaro, Glyndebourne, June 2013)



Photo Credit: Simon Pauly


Photo Credit: Simon Pauly


Photo Credit: Simon Pauly