Mezzo-soprano Megan Latham is equally at home in opera, oratorio, or recital, with a voice that has been described as “clear and honey colored” (Opera Canada). She has worked with distinguished conductors including Harry Bicket, Will Crutchfield, Richard Bradshaw, Miguel Harth-Bedoya, David Agler, Jeanne Lamon and Agnes Grossman.
Ms. Latham’s 2016/17 season included Emilia in Otello for Vancouver Opera and the Third Lady in Die Zauberflöte for Pacific Opera Victoria. It continues with Bloody Mary in South Pacific for Calgary Opera, Giovanna in COC’s Rigoletto and the Fortune Teller and Adelaide cover in the COC’s Arabella. She also performs Verdi Requiem for the Victoria Symphony.
Recent credits include the World Premiere of Stickboy for Vancouver Opera, Genevieve in Pelléas et Mélisande for Against the Grain Theatre, Rossweisse in Die Walküre for the Canadian Opera Company, Alisa in Lucia di Lammermoor for Edmonton Opera, Verdi’s Requiem for the Ottawa Choral Society, the world premiere of Dark Sisters for the Vancouver Opera and Siegfried and Le nozze di Figaro for the Canadian Opera Company.
A regular with the Canadian Opera Company, Ms. Latham’s assignments have included Giovanna in Verdi’s Rigoletto, Voice of the Mother in Les Contes d’Hoffmann, Zita in Gianni, Mère Jeanne in Dialogues des Carmélites and Herodias (cover) in Salome. She performed the role of Mrs. Grose in Turn of the Screw with Against the Grain Theatre, and was heard in concert at the Bayfield Festival of Song and with the Kitchener-Waterloo Symphony in Beethoven’s Symphony No. 9. Further career highlights include the Rhombus media production of Alexina Louie’s Politics is Cruel: An Opera, Verdi’s Requiem for Regina Symphony, Secretary to Chairman Mao in COC’s Nixon in China and Eduige in Rodelinda and Mistress Quickly in Falstaff for Pacific Opera Victoria.
Other roles with the COC include Marcellina in Mozart’s Le nozze di Figaro, Waltraute Isaura in Rossini’s Tancredi, Florence Pike in the Ensemble Studio production of Britten’s Albert Herring and Waltraute and Second Norn in Wagner’s Götterdämmerung (cover).
As a concert artist, Ms. Latham has been the soloist in Handel’s Messiah and Dixit Dominus, Rossini’s Petite Misse Solennelle, Haydn’s Nelson Messe, Mozart’s Krönungsmesse and Vivaldi’s Gloria and Beatus Vir. She has performed throughout North America, including her Carnegie Hall debut for the Marilyn Horne Foundation.
Ms. Latham appeared as Sister Sophia in Mirvish production of The Sound of Music at the Princess of Wales Theatre in Toronto, followed by Marcellina in Le nozze di Figaro for Vancouver Opera and in Bon Appetit with the Kitchener Waterloo Symphony. During the pursuit of her Master of Opera degree from the University of Toronto and Bachelor of Music in Opera from the University of British Columbia, Ms. Latham performed Dorabella in Mozart’s Cosi fan tutte, Ruggiero in Handel’s Alcina, Mrs. Herring in Britten’s Albert Herring, and Mrs. Nolan in Menotti’s The Medium.
|Adams||Third Secretary||NIXON IN CHINA|
Florence Pike, Mum
|TROUBLE IN TAHITI
|Debussy||Geneviève||PELLÉAS ET MÉLISANDE|
|Donizetti||Alisa||LUCIA DI LAMMERMOOR|
|Hammerstein||Sister Sophia||SOUND OF MUSIC|
|Kulesha||Patricia Ryan||THE LAST DUEL|
|COSÌ FAN TUTTE
LE NOZZE DI FIGARO
|Les Voix||LES CONTES D’HOFFMANN|
|Ravel||Un Pâtre/La Chatte||L’ENFANT ET LES SORTLÈGES|
IL BARBIERE DI SIVIGLIA
|Stravinsky||Baba the Turk||THE RAKE’S PROGRESS|
|Wagner||Second Norn, Waltraute||GÖTTERDÄMMERUNG|
|Haydn||LORD NELSON MASS|
|Rossini||PETITE MESSE SOLENNELLE|
“Mezzo Megan Latham sang wonderfully, and was especially affecting in Quid sum miser (hauntingly accompanied by principal bassoon Ben Glossop). She has a lovely higher register, warm and rich without being heavy.” [Ottawa Choral Society, Verdi Requiem] Ottawa Citizen, Natasha Gauthier
STICKBOY, VANCOUVER OPERA
“Megan Latham as Grandmother was first rate, doing full justice to her big numbers.”
Vancouver Classical Music. Harvey De Roo
“…and his Grandmother, sung with affecting dignity by mezzo Megan Latham.”
The Vancouver Sun, David Gordon Duke
“…proved to be effective at times, particularly during a duet where Grandmother (the gloriously talented mezzo-soprano Megan Latham) consoles Boy via scribbled notes on a notepad passed under his bedroom door; the duo sang purely without lyrics while their exchanged notes were projected on the screen behind, creating a truly unique emotional dialogue between the two characters.”
The Charlebois Post, Jay Catterson
“Megan Latham’s Grandmother is more than a cliché, too—nurturing, wise, but also bewildered sometimes.”
Straight.com, Janet Smith
“The other star is mezzo Megan Latham, who previously appeared with the Vancouver Opera in 2010 as Marcellina in Le nozze di Figaro. Latham shows consummate acting skills in her portrayal of the Grandmother, and her lyric voice provides the perfect emotional anchor for the role.”
Classical Voice North America, Konstantin Bozhinov
“Standing ovations go to both Sunny Shams (Boy) and Megan Latham (Grandmother) for their first rate singing voices, and excellent execution in the poignant scenes together.”
“Both featured Megan Latham as Grandmother and Sunny Shams as the Boy. The first was an orchestral interlude while they passed notes under the door after a bad day, and it ended beautifully with the two humming and holding hands through the door frame. The other is a hospital scene; the boy has grown distant and started cutting himself, and he has cut too deep. This painful scene is the only one where Shams’s tenor and Latham’s honey-in-your-tea mezzo are released to anything like full power. Her “Love lives here” builds to a heartbreaking rupture in the boy’s self-control and a remarkable duet where he finally tells Grandma how lost he is, with one of Koyczan’s peanut butter and caviar phrases: “I don’t know how to be a person.”
Musical Toronto. Lev Bratishenko
PELLÉAS ET MÉLISANDE, AGAINST THE GRAIN THEATRE
“Alain Coulombe is in fine majestic voice as the king Arkel as is Megan Latham as his queen Geneviève.”
Stage Door, Christopher Hoile
“Megan Latham as Arkel’s daughter is always impressive”
NOW Magazine, Jon Kaplan
“Megan Latham carried the role of the grandmother Geneviève, with impressive charisma.”
Musical Toronto, John Terauds
“Megan Latham, a mezzo-soprano and another Canadian, brought her warm and earthy voice to four of Brahms wistful settings of German folk songs.”
The New York Times, Anthony Tommasini
“Mezzo-soprano Megan Latham as Polly Peachum is a shining talent whose golden, fruity sound possesses greatness.”
Classical 96.3, Paula Citron
“Talented mezzo-soprano Megan Latham (Dorabella) was a delightful actress with a clear top that becomes honey-coloured in the lower range.
Opera Canada, Paula Citron
“The list of her successes includes…the remarkable mezzo-soprano Megan Latham.”
Globe and Mail, Ken Winters
“Megan Latham especially made a winning Polly Peachum, whose articulation of her words and smooth tone made her character’s love for the two-timing Captain Macheath quite believable.”
Globe and Mail, Ken Winters
“The supreme highlight of this first-half 20-song marathon was Georges Bizet’s masterpiece Adieu de l’hôtesse arabe, impressively, sometimes gloriously, sung by Megan Latham.”
Globe and Mail, Ken Winters
“Liber Scriptus” from Verdi’s Requiem
Megan Latham joins Pacific Opera Victoria singing Third Lady in Mozart’s Die Zauberflöte. Performances are on February 16, 18, 22, 24, and 26, conducted by Timothy Vernon.
EMILIA AT VANCOUVER OPERA
Megan Latham sings Emilia in Verdi’s Otello. Her scheming husband, Iago, is sung by Gregory Dahl, alongside Erin Wall, as Desdemona, and Thomas Goerz, as Lodovico. Performances with the Vancouver Opera are on April 26, 28, May 4, and 6.