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American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world.  Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams.  She regularly performs the major heroines of nineteenth-century French, Italian and German opera and the great symphonic works. Highlights of Nancy Maultsby’s 2014-2015 season include a role debut as Gaea in Strauss’ Daphne with the Cleveland Orchestra, later traveling to the Lincoln Center Festival.  Ms. Maultsby’s 2013-2014 season began under the baton of David Robertson as she made her role debut as Mrs. Sedley with the St. Louis Symphony in Benjamin Britten’s Peter Grimes at Powell Hall in St. Louis and then at Carnegie Hall on the composer's birthday. The artist performed this same role in a semi-staged version of the work at the San Francisco Symphony, conducted by Michael Tilson Thomas.  Other symphonic highlights for this season included a role debut as Mamma Lucia in Mascagni’s Cavalleria Rusticana with the Los Angeles Philharmonic at the Hollywood Bowl, conducted by Gustavo Dudamel, Beethoven&rsquo

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American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world.  Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams.  She regularly performs the major heroines of nineteenth-century French, Italian and German opera and the great symphonic works.

Highlights of Nancy Maultsby’s 2014-2015 season include a role debut as Gaea in Strauss’ Daphne with the Cleveland Orchestra, later traveling to the Lincoln Center Festival.  Ms. Maultsby’s 2013-2014 season began under the baton of David Robertson as she made her role debut as Mrs. Sedley with the St. Louis Symphony in Benjamin Britten’s Peter Grimes at Powell Hall in St. Louis and then at Carnegie Hall on the composer's birthday. The artist performed this same role in a semi-staged version of the work at the San Francisco Symphony, conducted by Michael Tilson Thomas.  Other symphonic highlights for this season included a role debut as Mamma Lucia in Mascagni’s Cavalleria Rusticana with the Los Angeles Philharmonic at the Hollywood Bowl, conducted by Gustavo Dudamel, Beethoven’s 9th Symphony with the Florida Orchestra, and Verdi’s Requiem with the Pacific Chorale and the Charlotte Symphony Orchestra.

Nancy Maultsby’s operatic career has included a wide range of roles in some of the world’s most prestigious houses.  In the United States, she has performed principal roles at the Lyric Opera of Chicago (Das Rheingold, Siegfried, Götterdammerung, La Gioconda, Pique Dame), The San Francisco Opera (Carmen), The Seattle Opera (Das Rheingold, Siegfried, Götterdämmerung, Werther, Carmen, Die Fledermaus), Washington National Opera (Falstaff, Siegfried), Boston Lyric Opera (Rusalka, Un Ballo in Maschera), Florida Grand Opera (Giulio Cesare), Santa Fe Opera (Falstaff, Tea: A Mirror of Soul), Minnesota Opera (Aida), Opera Colorado (Un Ballo in Maschera, Giulio Cesare), Opera Company of Philadelphia (Tea: A Mirror of Soul), Opera Theatre of St. Louis (The Death of Klinghoffer), Pittsburgh Opera (Carmen), Palm Beach Opera (Aida) and Michigan Opera Theater (Aida).  Internationally, her extensive career has taken her to the Royal Opera, Covent Garden (Die Ägyptische Helena), Teatro dell’Opera in Rome (Oedipus Rex), Teatro Colón in Buenos Aires (Carmen), Teatro Carlo Felice in Genoa (Norma), Opéra de Montréal (Bluebeard’s Castle, Aida), Staatsoper Stuttgart (Die Walküre), Teatro San Carlo in Naples, Italy (Oedipus Rex), Semperoper Dresden (Oedipus Rex), De Nederlandse Opera (Rigoletto) and the Greek National Opera in Athens (Aida, Oedipus Rex, L’incoronazione di Poppea).  Ms. Maultsby added Il Trovatore to her repertoire in the 2011/2012 season when she returned to Opera Colorado as Azucena to rave reviews. She reprised the role with Lyric Opera of Kansas City in the 2012-13 season.  

Ms. Maultsby’s orchestral repertoire extends from the Baroque to the most important works of the twentieth century.  Throughout her career, Nancy Maultsby has enjoyed frequent engagements with many leading conductors.  Her collaborations include performances under Zubin Mehta, Alan Gilbert, Gerard Schwarz, Pierre Boulez, Christoph von Dohnányi, Kurt Masur, Edo de Waart, James Conlon, Yuri Temirkanov, Sir Andrew Davis, Lorin Maazel, Sir Colin Davis, Riccardo Chailly, Patrick Summers, David Zinman, Peter Oundjian, Jeffrey Kahane, David Robertson, Stephen Lord, Esa-Pekka Salonen, Bruno Bartoletti, Robert Abbado, Patrick Summers, Michael Christie, Robert Spano, Christian Thielemann, Sebastian Lang Lessing, Franz Welser-Möst, Neeme Järvi, Tan Dun, the late Hans Vonk, Wolfgang Sawallisch, Leonard Slatkin and the late Robert Shaw.  Her regular collaborations with America’s leading orchestras include concerts with the New York Philharmonic (Beethoven No. 9, Béatrice et Bénédict, Messiah), the Philadelphia Orchestra (Verdi Requiem), the Cleveland Orchestra (Glagolitic Mass, Verdi Requiem), the Boston Symphony Orchestra, the Chicago Symphony Orchestra (Glagolitic Mass), the Los Angeles Philharmonic (Beethoven No. 9), the San Francisco Symphony (Alexander Nevsky), the Baltimore Symphony (Alexander Nevsky), the Toronto Symphony (Glagolitic Mass), the Seattle Symphony (Bluebeard's Castle, Mozart Requiem, Beethoven No. 9) the Atlanta Symphony (“Jeremiah” Symphony, El Niño), the Saint Paul Chamber Orchestra (The Rake’s Progress), the St. Louis Symphony (Rossini’s Stabat Mater, Alexander Nevsky), the Colorado Symphony (Verdi Requiem), the Detroit Symphony (Verdi Requiem), Houston Symphony, Milwaukee Symphony (Bach Mass in b minor), the Rochester Philharmonic (Aida, Messiah), the Florida Orchestra (Beethoven No. 9), IRIS Orchestra (Elgar’s Sea Pictures), and the Brooklyn Philharmonic (The Death of Klinghoffer).  She has sung at every major U.S. Festival including Ravinia (El Niño), Tanglewood, Saratoga, Aspen, Grant Park (Alexander Nevsky) and the Cincinnati May Festival.  Orchestral highlights for the 2011/2012 season included a return to the Atlanta Symphony to open the season with Beethoven’s Symphony No. 9 conducted by Robert Spano, and later the Seattle Symphony for Mozart’s Requiem conducted by Gerard Schwarz. The 2012/13 season saw Ms. Maultsby perform Mozart’s Requiem and Mahler’s Das Lied von der Erde with the Eastern Music Festival, Mahler’s Symphony No. 8 with the Nashville Symphony, Handel’s Messiah with the Indianapolis Symphony, and a recording for PBS of Mahler’s Rückert Lieder conducted by Gerard Schwarz. 

The particularly rich quality of Ms. Maultsby’s vocal timbre is a natural fit with the music of Gustav Mahler.  She has sung his Symphony No. 2 with the Cleveland Orchestra (Dohnányi), the Minnesota Orchestra (de Waart), Baltimore Symphony (Temirkanov), the National Symphony, the Cincinnati Symphony, Atlanta Symphony (Spano), on tour with the Israel Philharmonic (Mehta), the Aspen Music Festival, the Orchestre National de France (Conlon), the Australian Broadcasting Company (de Waart), the Brooklyn Philharmonic, the Mormon Tabernacle Choir, Utah Symphony, the Nashville Symphony (Slatkin) and the New Jersey Symphony.  Mahler’s Symphony No. 3 has taken her to the orchestras of Cleveland (Welser-Möst), Minnesota, St. Louis (including Carnegie Hall), Detroit (Järvi), Baltimore (Temirkanov), Atlanta (Levi), Baltimore (Zinman), New Jersey (Macal), Hong Kong (de Waart), and West Australia.  She has also performed the Symphony No. 8 with the New York Philharmonic (Maazel), the Los Angeles Philharmonic (Salonen), Seattle (Schwarz), Minnesota, Cincinnati May Festival and Amsterdam; Das Lied von der Erde with Atlanta, Baltimore, Aspen Festival, Brooklyn, Syracuse, Eastern Music Festival and Sydney; Kindertotenlieder with the Baltimore Symphony (Temirkanov) and Orchestra della Toscana (Bartoletti); Das Knaben Wunderhorn with Rochester and Das Klagende Lied with the American Symphony Orchestra.

In addition to a recording of Mendelssohn’s Elijah with Antonio Pappano on Forlane, Odyseus and Telarc's highly acclaimed recording of Mozart's Requiem - the premiere recording on period instruments with the Boston Baroque - Ms. Maultsby can be heard on Telarc's recording of Dido and Aeneas, also with the Boston Baroque.  She is featured on box sets honoring Christoph von Dohnányi and the Cleveland Orchestra (Mahler 2nd) and Kurt Masur at the New York Philharmonic (Debussy’s St. Sebastian). Her recent recordings include the Lamentation from Bernstein’s Symphony No. 1 (“Jeremiah”) with Robert Spano and the Atlanta Symphony for Telarc, Richard Yardumian’s Symphony No. 2 with the Singapore Symphony on BIS, and Wagner opera excerpts on Naxos.

Nancy Maultsby, a North Carolina native, is a graduate of Westminster Choir College, where she studied with Lindsey Christiansen, and was a graduate student at Indiana University School of Music, where she studied with Margaret Harshaw.  She is an alumna of the Lyric Opera of Chicago's Center for American Artists.  Among numerous other awards, she is the winner of the Marian Anderson Award and the Martin E. Segal Award.  She is on voice faculty at Baldwin Wallace University in Berea, Ohio.

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Reviews

"Nancy Maultsby's huge, rich mezzo-soprano made a remarkable impact as Judith."

Bluebeard's Castle, Seattle Symphony, Seattle Times

"[In Das Lied von der Erde] Ms. Maultsby’s plangent reading of “Der Abschied,” the work’s finale, had a soul-shaking directness."

Allan Kozinn, The New York Times

"Nancy Maultsby as Marilyn Klinghoffer wins our hearts, as she must. She has been given a marvelously varied scena to close the show, its vocal demands as wide-ranging as its emotions which span anguished loss, unbridled anger, and hopeless resolution — a potent distillation of Middle East truth and consequences in one, unbearably intense Geschrei. Ms. Maultsby is possessed of an uncommonly rich mezzo, unwavering at full dramatic force, and meltingly responsive in the role’s legato passages. "

Death of Klinghoffer, Opera Theatre of St. Louis, Opera Today

"...and mezzo-soprano Nancy Maultsby as the gypsy Azucena. Both alluring, dramatic voices (referring to rich and robust vocal qualities that easily project above the sound of an orchestra) brought heft, fullness and emotion to Verdi's many sumptuous arias, as well as the pianissimo lyricism and powerful outbursts their parts demand...Maultsby's agility and sensitive portrayal of profound grief, heart-rending psychological conflict and a dose of willfulness drove home the most persuasive performance of the night. "

Il Trovatore, Opera Colorado, Denver Post

"Strongest of the bunch was Nancy Maultsby as Azucena the gypsy women and mother of Manrico. The rage and horror in the recounting of pushing her own son into the fire rather than the wicked count’s in her aria “Condotta ell'era in ceppi” was gripping and suitably shocking. Her prone entrance in the fourth act trio, as though she were singing in her sleep, was magical. "

Il Trovatore, Lyric Opera of Kansas City