Heralded for her “clear vibrant tone” (Opera Canada) and her “good comedic acting…with [a] powerful, agile voice” (Burnaby Now), Tamar Simon is an emerging Armenian-Canadian soprano embarking on a promising opera career. Based in Vancouver, Canada, Tamar was recently engaged with Burnaby Lyric Opera as Rosina in their mainstage production of Il barbiere di Siviglia and as Adina in their concert production of L’elisir d’amore. Last year, she performed with White Rock Concerts as Musetta in their production of La Bohème and also sang excerpts from Handel’s Agrippina under the baton of Alexander Weimann. She was featured in the Vancouver Opera Festival as the soprano soloist for their New Works Project and with the Vancouver Symphony Orchestra as Valencienne in their Look of Love concert, music she performed again with the Okanagan Symphony Orchestra in their concert of Viennese Delights.

Tamar has also performed internationally, most recently as Zerlina in Hawaii Performing Arts Festival’s 2017 production of Don Giovanni. In 2016, Tamar continued her vocal and art song studies in Austria after receiving the Johann Strauss Foundation Scholarship, which sponsored study at the Internationale Sommerakademie Mozarteum under soprano Helen Donath and baritone Wolfgang Holzmair. Earlier that year, she traveled to Pilzen, Czech Republic and Nürnberg, Germany performing excerpts from La Bohème and Die Fledermaus. In 2015, she performed in Hong Kong and Beijing as part of the UBC Centennial Tour, performing excerpts from Don Pasquale and Les Contes d’Hoffmann. Earlier that year, she traveled to Sulmona, Italy to sing Calisto in La Calisto with Centre for Opera Studies in Italy.

Tamar was a District Winner of the Metropolitan Opera National Council Auditions in 2016. She is a graduate of University of British Columbia’s Master of Music program in opera performance, studying under Patrick Raftery and Nancy Hermiston. At UBC, she performed many leading roles, most notably the role of Susanna in Mozart’s Le nozze di Figaro where she was described as “believable and engaging Susanna, passing from innocence to subtlety to assertion, always in control and always the unrecognized protagonist” (Opera Canada). She was also seen as Tytania in Benjamin Britten’s A Midsummer Night’s Dream, Ciboletta in Eine Nacht in Venedig, and The Foreign Woman in The Consul