Nancy Maultsby



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 masterpieces.

Highlights of Nancy Maultsby’s future and recent seasons include performances of Debussy’s Pelléas et Mélisande with the Cleveland Orchestra as Geneviève in a new semi-staged production by Yuval Sharon, conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah. At the Los Angeles Philharmonic, Ms. Maultsby performed the role of Julia in Lou Harrison’s Young Caesar, a reimagining of the classic piece by Yuval Sharon, which was later released on recording, and Bianca in Boston Lyric Opera’s production of The Rape of Lucretia. Ms. Maultsby also performed Handel’s Messiah with the New Jersey Symphony Orchestra, Mozart’s Requiem with the Indianapolis Symphony and Verdi’s Requiem with the Florida Orchestra, Akron Symphony and Eugene Symphony. Ms. Maultsby was also featured in performances of Beethoven’s Symphony No. 9 with the San Antonio Symphony conducted by Sebastian Lang-Lessing, Handel’s Messiah with the Baltimore Symphony Orchestra under the baton of Edward Polochick, as well as a return to Lyric Opera of Kansas City as Ježibaba in Dvořák’s Rusalka.

Nancy Maultsby’s other recent engagements include her role debut as Gaea in Strauss’ Daphne with the Cleveland Orchestra conducted by Franz Welser-Möst at Severance Hall in Cleveland and at New York’s Lincoln Center Festival; her role debut as Mrs. Sedley with the St. Louis Symphony in Britten’s Peter Grimes under the baton of David Robertson at Powell Hall in St. Louis and at Carnegie Hall, with additional performances of the role at the San Francisco Symphony conducted by Michael Tilson Thomas; her role debut as Mamma Lucia in Mascagni’s Cavalleria Rusticana with the Los Angeles Philharmonic at the Hollywood Bowl under the baton of Gustavo Dudamel; Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra under the baton of Donald Runnicles, the Cleveland Orchestra at the Blossom Festival under the baton of Franz Welser-Möst, and with the Florida Orchestra; Haydn’s Paukenmesse with the San Diego Symphony conducted by Jahja Ling; Judith in Bluebeard’s Castle with the Wichita Symphony Orchestra; and Verdi’s Requiem with the Pacific Chorale and the Charlotte Symphony Orchestra.

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“Nancy Maultsby’s huge, rich mezzo-soprano made a remarkable impact as Judith.”

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

More Reviews

“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