OSMUND (aka Osmin)

Jeffrey Tarr, as villainous Osmond, the hanging judge’s henchman, with his cavernous bass voice and impressive breath control, brings down the house. Wearing a black, Western long coat, a sheriff might wear. Tarr’s resonant voice, that has the range for the octave-leap intervals and Mozart’s low notes that descend to a low D, is ideally suited for the aria “O, wie will ich triumphieren.” the coloratura bass cadenza… A stunning, bravado performance that elicited bravos in the second act. – Rosalind Lacy – DC Theatre Scene – September 11, 2013

Osmin, the harem guard with anger-management problems, is the best adapted, as an ill-tempered Black Bart overseeing the saloon and whorehouse of Judge Roy Bean, largely thanks to the broad Texas drawl and booming low notes of bass Jeffrey Tarr.  – Charles Downey – Washington Post – September 9, 2013

The show’s standout is Jeffrey Tarr as Judge Bean’s gruff main security man, whose deep bass suits his role and his songs. The fact he can throw in a Western accent and occasional yodel while doing so makes him perfect for the adaptation. – Roger Catlin – MD Theater Guide – September 9, 2013

Jeffrey Tarr (Osmund) is a larger-than-life bass who has the challenge of singing the lowest notes it is possible to sing and shines on a couple of hilarious songs. – Jessica Vaughn – DC Metro Theatre Arts – September 9, 2013


I especially admired the beefy bass voices of Jeffrey Tarr (as Frère Laurent) and Terrance Brown (as Juliette’s father). – Tim Smith – Baltimore Sun – February 25, 2011


Jeffrey Tarr’s turn as Don Basilio, the cohort of Rosina’s guardian Dr. Bartolo, was quite engaging, with the big, colorful expressiveness of his voice matched nicely by very funny physicality. Patrick Klink – Baltimore Examiner – September 27, 2010

Jeffrey Tarr’s Basilio was likewise vibrant in style… Tim Smith – Baltimore Sun – September 27, 2010

Bass-baritone Stephen Eisenhard as Dr. Bartolo and bass Jeffrey Tarr as Don Basilio stood out for some extravagant comic opera acting and singing that almost made me hallucinate the period costumes of a full staging on them. Clayton G Koonce – Felis Pushkini (blog)- September 25, 2010


Jeffrey Tarr, the only guest artist in this otherwise student cast, sang the role of the all-wise Sarastro with eloquence of line. Tim Smith – Baltimore Sun – March 18, 2008


Bass soloist Jeffrey Tarr was outstanding. He looks too slight to contain such a large, resonant voice, filled with both power and clarity. Mark J. Estren – Washington Post – December 17, 2007


Jeffrey Tarr portrayed a fervent, robust Basilio – Ronni Reich – Washington Post – March 13, 2007

In discussing the Doctor Bartolo of baritone Jimi James and the Don Basilio of bass Jeffrey Tarr, we enter the realm of Major Voices (note the capitals). Their respective performances were characterized by rock-solid vocalism and powerful projection. Mr. Tarr’s “La Calunnia,” in which he describes how a simple rumor can grow to chase the Count out of Seville, was one of the highlights of the entire production. David Lindauer – The Capital – March 16, 2007


Jeffrey Tarr, an alumnus of the Peabody Opera program invited back for this production, brought his focused bass sound to the role of Collatinus, sometimes overwhelming. – Charles Downey – – February 4, 2007


Jeffrey Tarr and Alexandra Christoforakis were deliciously overdressed and overdone as Bartolo and Marcellina – Mark J. Estren – The Washington Post – December 18, 2006


Mr. Tarr had amazing trills and breathing, not to mention those deep low notes in the second Purcell. He always had spot-on sustained low notes that were very impressive. – Alan J. Savada – – November 25, 2005