Biography (short version)
A native of Kyoto, Japan, Asako Tamura has appeared with opera companies worldwide. She recently made her debut in London at the Royal Albert Hall in "Madam Butterfly" (Cio-Cio San) to rapturous reviews from the London critics. Ms. Tamura's extensive performance credits include appearances in Lucia di Lammermoor (Lucia) with the Hungarian State Opera (Budapest), Ente Luglio Musicale Trapanese (Sicily), Teatro Lirico di Cagliari (Sardinia), and Opera Constanza (Romania); Verdi’s “I Masnadieri” (Amalia) with the Sarasota Opera (Florida); “La Traviata” (Violetta) with the El Paso Opera (Texas); female leads in Leoni’s “L'Oracolo” and Montemezzi’s “L'Incantesimo” at the Avery Fisher Hall with Teatro Grattacielo (NY); “L'Ottavia” at the Scarlatti Festival in Tokyo; Donatoni’s “Alfred, Alfred” (Arlene) at the Contemporanea Arena di Verona; “Rigoletto” (Gilda) and “Romeo et Juliette” (Juliette) with the Hungarian State Opera ; and Cio-Cio San with the Teatro Solis (Uruguay). Her many appearances in orchestral concerts around the world include The Three Tenors (Domingo, Pavarotti, Carreras) in Yokohama, Japan, the New York Metropolitan Opera Orchestra, BBC Symphony Orchestra, L.A. Symphony, Opera Ai Fori Gala Concert Orchestra (Rome), Tokyo Symphony Orchestra and Tokyo Philharmonic Orchestra. Upcoming performances include “La Traviata” (Violetta) with the Kalamazoo Symphony (Michigan) in September and Cio-Cio San at the Sarasota Opera (Florida) in October/November. For more information, see www.asakotamura.com
Puccini "Madam Butterfly"
Royal Albert Hall, London
BREAKS OUR HEARTS
GOLIAH Business knowledge on demand
The Mail on Sunday, London,England March 6, 2011
The petite Japanese soprano Asako Tamura is a first-class singing actress: a credible, very Oriental Butterfly in all her teenage gaucheness in Act I, and then, in Western dress, turning up the emotional temperature, so her eventual suicide really shocks.
Puccini "Madam Butterfly"
SINFONICA - Critica Musical by Egon Friedler
The second index had as the great star, the impressive ASAKO
TAMURA’ｓButterfly. She displayed a great vocal performance,
and a performance of extraordinarily dramatic intensity. In addition, her grace and natural beauty and her "physique du role" were
other reasons why she was the artist who received the most pla
udits of both indexes.
In general balance, the second presentation was from my personal op
inion more successful than the first one, due to the undoubted captivation of the protagonist (Asako Tamura) and also because Martin Lebel ́s baton achieved better results.
L'Oracolo L'incantesimo in Teatro Grattacielo
Ｑonstage.com New York’s Performances & Arts Reviews
by Bruce-Michael Gelbert, November 2007
Asako Tamura sang, as scheduled, Ah-Joe's greeting to the sun and plaint after San-Lui's death, to which she brought apt pathos, in a strong, luminous lyric soprano, floating fine piano tone at the end of the invocation and, replacing Aprile Millo, down with a bad cold, as Giselda, joined tenor José Luis Duval, as Rinaldo, for an intense love duet echoing those in "Walküre," "Tristan und Isolde," and "Ariadne auf Naxos
Classics Today By Robert Levine
Asako Tamura’s Ah-Yoe was a lovely creation; and she stepped in for Aprile Millo as Giselda. She sang with pure tone and lovely pianissimi.
OPERA TODAY opera new, commentary, and reviews from around the world By John Yohalem, November 2007
….Asako Tamura made a striking impression as Ah-Joe, one of opera’s many delicate oriental maidens with a larynx of steel (Teatro Gratticielo has already presented Mascagni’s Iris)….
Sun- Sentinel South Florida By Lawrence A.Johnson
The demanding role of Amalia is the largest in the opera, and Asako Tamura's singing was on the first-rate level. The Japanese soprano has the stratospheric range and high notes for a role personally tailored by Verdi for the Swedish songbird Jenny Lind. Tamura displayed flexibility in the coloratura flights, soaring through the ensembles and showing agility in the fireworks at DeRenzi’s very fast tempos.
Wining & Dining By Chip Ludlow
As Amalia, Asako Tamura, is blessed with a glittering soprano that can easily manage the many trills, unforgiving leaps and ornamentation demanded by the score.
Her voice is supple, clear, accurate and well modulated.
The Observer,BY June le BELL(WQXR)
Asako Tamura made a believable Amalia; she sang with a meltingly beautiful pianissimo and the agility of a skilled dramatic coloratura.
Lucia di Lammermoor
MOMUS（Hungary music magazine）
--- along with the mexican tenor Ramon Vargas, the Opera House has brought a superb soprano, Asako Tamura, who - and here comes the surprise - is not a colorature soprano!
The lovely japanese lady is a lyric soprano with extraordinary abilities and correct intonations. And it turned out that this role can be sung like this. Besides the perfect intonation she needed an accurate knowledge of the style and the piece itself. Well done!"
--- Tamura's and Vargas' tour has well deserved the standing ovation of the otherwise languorous crowd.
It was celebration, celebration, celebration!"
L'Oracolo L'incantesimo in Teatro Grattacielo
The New York Times By Vivien Schweitzer
Substituting for Ms.Millo, who was ill, as Giselda, Asako Tamura sang expressively with a bright soprano.
as he expressed his love for Ah-Joe, elegantly sung by Ms. Tamura.
The Italian Voice By Nino Pantano
Asako Tamura brought a ravishing soprano with impeccable artistry to the role of Ah-Joe. This oracle predicts a great future for her.
Aprile Millo was scheduled to sing the role of Giselda in this performance but cancelled due to illness.
In her place was Asako Tamura, the Ah-Joe from the previous performance who sang with lustrous power and beauty.
Her vocal soaring soprano flights in this radiant score took this listener to that magic spring garden.
DOES NOT DISSAPOINT
El paso times By Philip Christiansen, October 2006
The show's success is vitally dependent on the title character; El Paso will fall in love with Asako Tamura's portrayal of this demanding role. Her voice rings into every corner of the hall, and her impassioned singing engages you throughout. Worthy of mention is her final act. With the waitingpitfalls of melodrama, she navigates the performance with a unique earnestness that fully realizes Verdi's most complete heroine.
St.Petersburg Times and Opera News By JOHN FLEMING
Sarasota Opera’s Asako Tamura gave an arresting performance as Amalia, gracefully managing all of the high warbling when she first appeared in the third scene of Act I. But the song is strangely schizophrenic, obviously written as a virtuosic vehicle for Lind. More authentic and touching was Amalia’s Act II scene before the tomb of her uncle, accompanied by harp. Another highlight came in Act III, with Tamura and Geer’s performance of the gorgeously modulated soprano–tenor duet.
L'OPERA（Italian opera magazine）By Christine Gransier
Asako Tamura ha mostrato una grande flessibilita,impressionante delicatezza sulle note acute e senso della linea di canto.
Il suo timbro era caldo e lirico
Opera Actual(divish Web Magazine) By Roger Steiner
La Amalia de Asako Tamura mostró una gran flexibilidad vocal, una buena línea de canto y seguridad en los agudos, convirtiendo a su cavatina del segundo acto en el momento más aplaudido de la velada.
Concorso Di Stefano,il concerto dei vintori
E delineata con notevole finezza e stata l'Oferia del soprano giapponese Asako Tamura dall'Amleto di Thomas, che ha catturato l'attenzione del pubblico.
Cardiff Singer Of The World 1999
By Graeme Kay
…..Her voice is brilliant jewel of the voice……