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Nancy Maultsby
Mezzo Soprano

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.

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).  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.  

Maultsby’s orchestral repertoire extends from the baroque to the most important works of the twentieth century.  Throughout her career, 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’s Symphony No. 9, Béatrice et Bénédict, Messiah), The Philadelphia Orchestra (Verdi’s Requiem), The Cleveland Orchestra (Glagolitic Mass, Verdi’s Requiem), Boston Symphony Orchestra, Chicago Symphony Orchestra (Glagolitic Mass), Los Angeles Philharmonic (Beethoven’s Symphony No. 9), San Francisco Symphony (Alexander Nevsky), Baltimore Symphony (Alexander Nevsky), Toronto Symphony (Glagolitic Mass), Seattle Symphony (Bluebeard's Castle, Mozart’s Requiem, Beethoven’s Symphony No. 9), Atlanta Symphony (“Jeremiah” Symphony, El Niño), Saint Paul Chamber Orchestra (The Rake’s Progress), St. Louis Symphony (Rossini’s Stabat Mater, Alexander Nevsky), Colorado Symphony (Verdi’s Requiem), Detroit Symphony (Verdi’s Requiem), Houston Symphony, Milwaukee Symphony (Bach’s Mass in b minor), Rochester Philharmonic (Aida, Messiah), The Florida Orchestra (Beethoven’s Symphony No. 9), IRIS Orchestra (Elgar’s Sea Pictures) and Brooklyn Philharmonic (The Death of Klinghoffer). She has sung at every major United States festival including Ravinia (El Niño), Tanglewood, Saratoga, Aspen, Grant Park (Alexander Nevsky) and the Cincinnati May Festival.  Orchestral highlights for the 2011/2012 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. During the 2012/13 season, Maultsby performed 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 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), Minnesota Orchestra (de Waart), Baltimore Symphony (Temirkanov), National Symphony, Cincinnati Symphony, Atlanta Symphony (Spano), on tour with the Israel Philharmonic (Mehta), at the Aspen Music Festival, Orchestre National de France (Conlon), Australian Broadcasting Company (de Waart), Brooklyn Philharmonic, Mormon Tabernacle Choir, Utah Symphony, Nashville Symphony (Slatkin) and 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 and Zinman), Atlanta (Levi), New Jersey (Macal), Hong Kong (de Waart), and west Australia.  She has also performed the Symphony No. 8 with the New York Philharmonic (Maazel), Los Angeles Philharmonic (Salonen), Seattle Symphony (Schwarz), Minnesota Orchestra, and at the Cincinnati May Festival and in Amsterdam; Das Lied von der Erde with the symphonies of Atlanta, Baltimore, Brooklyn, Syracuse, Eastern and Sydney as well as the Eastern Music Festival and Aspen Festival; Kindertotenlieder with the Baltimore Symphony (Temirkanov) and Orchestra della Toscana (Bartoletti); Das Knaben Wunderhorn with the Rochester Orchestra 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 - 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’s Symphony No. 2) 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.

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.

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