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James Maddalena
Baritone
(Updated March 2012. Please discard previous materials.)
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The renowned baritone James Maddalena commands a
large and varied repertoire ranging from Monteverdi to contemporary opera. He
first gained international recognition for his notable portrayal of the title
role in the world premier of John Adams’
Nixon in China, directed by Peter Sellars at Houston Grand Opera followed by
performances at Netherland Opera, the Edinburgh Festival, Brooklyn Academy of
Music, Washington Opera, Frankfurt Opera, Australia’s Adelaide Festival, the
Chatelet in Paris, English National Opera, the Greek National Opera and most
recently for his debut with the Metropolitan Opera.
His association with John Adams continued in two
more recent roles: the Captain in Adams’s
The Death of Klinghoffer, which premiered at the Théâtre de la Monnaie in
Brussels and received performances at the Opera de Lyon, the Brooklyn Academy of
Music, San Francisco Opera, and at the Vienna Festival prior to being recorded
by Nonesuch under Kent Nagano; and Jack Hubbard in
Doctor Atomic for San Francisco Opera.
Mr. Maddalena has appeared with many other leading
international opera companies: New York City Opera, San Francisco Opera, Atlanta
Opera, Santa Fe Opera, Opera Theatre of St. Louis, Opera Boston, the Lyric Opera
of Kansas City, Frankfurt Opera, and Glyndebourne Festival Opera, as well as
with the Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, San
Francisco Symphony, Brooklyn Philharmonic, the Royal Scottish Orchestra,
Orchestra of the Accademia di Santa Cecilia in Rome and the London Symphony
Orchestra. He is a frequent collaborator with director Peter Sellars and sang
major roles in Sellars’ stagings of the Mozart/Da Ponte operas (the Count in
Le nozze di Figaro and Guglielmo in
Così fan tutte), as well as his
productions of operas by Haydn, Handel and John Adams.
He has collaborated with many contemporary
composers, including John Harbison, Gunther Schuller, Elliot Goldenthal, Robert
Moran, Domenic Argento, Marc Blitzstein, and Michael Tippett, among others. He
sang the world premiere of Stewart Wallace’s
Harvey Milk with Houston Grand Opera,
later heard at San Francisco Opera, a production that was recorded by Teldec
under Donald Runnicles. He sang the premiere of Wallace’s
The Bonesetter’s Daughter at San
Francisco Opera in 2008. In St. Louis, James Maddalena sang Hobson in the
premiere of David Carlson’s The Midnight
Angel. He sang the role of Gideon March in Mark Adamo’s
Little Women at the Houston Grand
Opera, and in the premiere of Elliot Goldenthal’s Vietnam Oratorio
Fire Water Paper with the Pacific
Symphony Orchestra, recorded for Sony Classical and later performed with the
Boston Symphony under Seiji Ozawa at Carnegie Hall and the Kennedy Center. He
gave the world premiere of Harbison’s Four
Psalms with the Chicago Symphony Orchestra.
James Maddalena sang the title role in the premiere
of Kirke Mechem’s John Brown at the
Lyric Opera of Kansas City invited back in March 2012 for the title role in
Nixon In China. In 2009 he made his
Santa Fe Opera debut in the premiere of Paul Moravec’s
The Letter. That fall he returned to New York City Opera as Mordecai
in Weisgall’s Esther. 2010 brought the
premiere of Lewis Spratlan’s “Life is a
Dream” in Santa Fe and his debut
with the Opera de Monte-Carlo singing the title role in the premiere of Tod
Machover’s Death and the Powers, which
had US performances in Boston and Chicago following his Metropolitan Opera debut
in Nixon In China in 2011. He returned
to the Opera Theatre of St. Louis in June 2012 as Don Alfonso in
Cosi fan tutte.
An active concert artist, James Maddalena can be
heard in repertoire ranging from Bach to Hindemith. He has performed
The Messiah with Boston’s Handel and
Haydn Society; Hindemith’s Requiem
with Wolfgang Sawallisch and the Orchestra of the Accademia di Santi Cecilia in
Rome; the St. John Passion in Turin,
Italy; Harbison’s Words from Paterson
with the San Francisco Symphony; and
Carmina Burana in Seville, Spain and Palermo, Italy. He made his Houston
Symphony debut in fall 2010, singing Lawrence Siegel’s
Kaddish, conducted by Hans Graf. He sang Schubert’s
Die Winterreise at the Brooklyn
Academy of Music with Robert Spano as accompanist and the complete cycle of Bach
cantatas with Boston’s Emmanuel Music.
James Maddalena has recorded for Decca/London, BMG,
Classical Catalyst, Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI.
He can be heard on the Grammy Award-winning recording of
Nixon In China (Nonesuch) and the Emmy Award-winning PBS telecast,
now on DVD. His performance of Mark Adamo’s
Little Women was recently released on
Naxos DVD.
Press comments:
Nixon in Nixon In China, Lyric
Opera of Kansas City:
“Baritone Maddalena was in fine voice for the Saturday
opening, and his performance beautifully captures the weird mix of banality and
vision that makes Nixon a memorable figure.”
Kansas City Star - March 11, 2012
“Perhaps due to
Maddalena's expertise in playing Nixon, Nixon comes off in the production as an
emotionally complex man thrilled with the potential of his China visit, but
unsure how it will ultimately play out in the Cold War world.”
Shanghai Daily - March 12, 2012
“The
opening night of John Adams’ opera, Nixon in China, was nearly
unblemished in all aspects.
In fact, the two principals, James Maddalena (Richard Nixon) and Alan
Woodrow (Mao Tse-tung) were top-notch as to vocal technique and sheer acting.
These performers were quite
obviously well-rehearsed and enthusiastic about their respective roles.
Baritone James Maddalena, the originator
of the role, sounded fundamentally polished as the anti-communist Nixon,
particularly in the first act. He has mastered several of Nixon’s traits and
behaviors too—using a handkerchief to treat his excessive sweating, hunching his
back forward as he walked. Maddalena was Nixon in the Houston Grand Opera debut
in 1987. This production of Nixon in China was quite extraordinary and
exceptional.”
PopMatters - March 28, 2012
Premiere:
Falling Man by Kenneth Fuchs,Spartanburg Philharmonic,Sarah
Ionnides:
“The vocalist’s speech-like rhythms and 12-tone melody
are expanded, colored, and sometimes interrupted by orchestral interjections of
great beauty and power and no small difficulty. Baritone James Maddalena, is
among the world’s most prominent singers of contemporary opera, so it was little
surprise that he was magnificent; his fine diction, paired with Twichell’s
remarkable acoustics, ensured that every syllable of text projected throughout
the auditorium. Under the sure hand of Ioannides the orchestra was just about as
magnificent, handling a fiercely difficult score with aplomb.”
Spartanburg Herald Journal- September 12, 2011
Tod Machover’s
Death and the Powers, Chicago
Opera Theatre:
“Powers, sung with wondrous sensitivity
to words and music by the firm-voiced baritone James Maddalena, exults in his
newfound liberation from what he derisively calls ‘the world of meat.’
Maddalena, fresh from his performance of Richard Nixon in Adams’ ‘Nixon in
China’ at the Metropolitan Opera, is superb. The singers were joined by the
composer, conductor, director and members of the wizardly production team for a
long and grateful ovation on opening night. ‘Death and the Powers’ is a must-see
for anybody who cares about the exciting new techno-driven directions music
theater is taking in the early 21st century.”
Chicago Tribune - April 2
“James
Maddalena’s baritone sounded richer and more technically secure than in recent
years, and he brought a firm and vivid characterization to Simon, even with
spending most of the opera unseen offstage.”
Chicago Classical Review - April 4
“So
many folks behind the scenes make this work happen, but a particular standout is
baritone James Maddalena, who originated the role of Nixon in John Adams’ ‘Nixon
in China,’ which he recently reprised at the Met. Here, Maddalena is Simon
Powers, the dying billionaire who seeks immortality by programming himself into
various media in such a convincing way that he remains a vocal and visual
‘presence’ long after his physical body has expired. Extraordinarily, we see
Maddalena only briefly onstage early on, and he then retreats to a soundproof
booth in the orchestral pit where his voice and actions are morphed throughout
the work in astonishing ways.”
New City Stage - April 4
“On
stage or as a voiceover, James Maddalena (Simon)
commands the stage as a powerful baritone. Maddalena's singing grows in strength
as his fleshy self disappears from view.”
Chicago Now - April 4
“Veteran
baritone James Maddalena has the title character Simon Powers down in all of his
self-involvement.”
Chicago Sun Times - April 4
Tod
Machover’s Death and the Powers. American Repertory Theater:
“Megalomaniac
billionaire Simon Powers (the formidable baritone James Maddalena).”
Boston Herald – March 20, 2011
“Narrative centers on Simon Powers (Maddalena),
a dying billionaire genius who seeks to defy the notion that you can't take it
with you when you go. The on-stage presence of Maddalena does go with his
character's demise with a cheery ‘See you later!’ -- but his spirit remains very
much engaged as part of the ‘System.’ For much of the rest of the opera
Maddalena sings unseen in a booth in the orchestra pit, wired to elicit changes
in sound and light to the LED-programmed towers on stage.”
Variety – March 22, 2011
“Powers
is the last name of the protagonist, a billionaire businessman and inventor who
uploads himself into ‘The System’ in the hope of transcending his failing body.
Commandingly played by James Maddalena with the assurance he recently brought to
the title role in the Metropolitan Opera’s
Nixon. Sensors measuring Maddalena’s physical reactions supply data
that help determine the look of Alex McDowell’s decor. 4 stars.”
Financial Times – March 22
“Simon Powers, masterfully sung by James
Maddalena, retreats to the orchestra pit after he has entered the System. To
realize his nonpresent presence, Maddalena is outfitted with sensors that catch
his gestures and his physiological states while singing and translate them into
visual displays on three giant movable walls.”
Boston Globe – March 21
“It's a big
risk when relying on cutting-edge computerization to help tell a story – not
only for potential glitches, but for the emotional value. ‘Death and the Powers’
teeters on that fine line of having effects overwhelm the live performers. That
it doesn't is thanks to Diane Paulus' tender and graceful direction and the
poignant performances of Maddalena.”
Cape Cod times – March 20
Metropolitan Opera debut as Nixon in John Adams’
Nixon In China:
“Making your Met debut in your mid-50s must be both
gratifying and high-pressured. But it would have been impossible to bring any
other Nixon to the Met for this premiere. Mr. Maddalena inhabits the character
like no other singer, and he loves this outrageous and complex character, an
affection that came through here. Mr. Maddalena was riveting in the long scene
in which Nixon meets the frail yet feisty Mao.”
New YorkTimes – February 3, 2011
“The operatic Nixon is Dostoevskian, his demons a
lifelong grapple. Maddelena
struggles with some of the notes now, but not the wondrous music. The Nixon in
him is the essence of the man. We do well to pay attention.”
Los Angeles Times - February 13, 2011
“As Nixon,
baritone James Maddalena makes his Met debut in the role he originated. His
overall characterization is rich and layered: his Nixon is fallible, idealistic,
haunted by a past he’s desperate to recreate.”
Time Out New York - February 12, 2011
“James
Maddalena, who was the original Nixon, delivered a nuanced portrayal of the
president as a complex man—eager, paranoid, sentimental and calculating.”
Wall Street Journal – February 8, 2011
“In both
looks and mannerisms, James Maddalena captures the familiar image of Richard
Nixon in convincing fashion. It's no exaggeration to say that Maddalena has it
all down pat. He ‘owns’ this part, and I cannot imagine anyone better equipped
to drum up paranoia in the first-act number, ‘We live in uncertain times/Who are
our friends/Who are our enemies?’”
MusicalCriticism.com – February 20, 2011
“In the title role, James Maddalena, in
his long overdue Met debut, created an absolutely uncanny portrait of Richard
Nixon. It was all there – the physical and psychological awkwardness, the
self-pity, even the paranoia.”
ConcetoNet.com –February19, 2011
“The cast
was excellent. James Maddalena, reprising the title-role he created, bears a
strong physical resemblance to Nixon and his acting skills effectively brought
out the awkward stiffness and flawed humanity of his complex character. He was
most effective in the Act One scene where he meets the decrepit but defiant
Chairman Mao.”
ClassicalSource.com – February 14, 2011
“As Nixon,
baritone James Maddalena makes his Met debut in the role he originated. His
overall characterization is rich and layered: his Nixon is fallible, idealistic,
haunted by a past he’s desperate to recreate.”
GBOpera – February 11, 2011
“James Maddalena portrayed Nixon with the
savoir-faire derived from 23 years’ experience in the role.”
Financial Times – February 4, 2011
“He gave a
magnificent impersonation of the president, capturing facial expressions,
gestures and intonations in uncanny fashion. When he uttered the lines, ‘Who are
our enemies? Who are our friends?’ a look of paranoia flashed across his face
that would seem familiar to anyone who remembers the Nixon presidency. Yet, true
to the libretto, he never lapsed into caricature.”
San Francisco Chronicle – February 4, 2011
“When Nixon
appeared at the top of the gangway, the audience broke into applause almost
reflexively, as if responding to the idea of a presidential entrance, and
Maddalena gave a politician's wave that broke through the fourth wall.
Maddalena did a great job portraying Nixon.”
Washington Post – February 3, 2011
“For
whatever reason, the original cast for ‘Nixon’ was almost note-perfect, and no
subsequent gathering of voices and actors will ever displace their hold on the
mind. Only one member of that original cast is present -- James Maddalena’s
Nixon -- and his performance has come to define the operatic role. He has
assimilated more about the character over the years he has been playing it.
Maddalena’s is the most rounded portrayal of the major characters.”
Musical America.com – February 4, 2011
“Nixon (sung
as always by James Maddalena) was alive with history, aware always of the import
of the visit. Maddalena embodies him perfectly, managing to sing somehow with a
sense of Nixon himself, who it's hard to imagine ever singing at all much less
an aria.”
Huffington Post – February 3, 2011
“It was a
Met debut for James Maddalena, too, who sang Nixon, the role he created in 1987.
In the intervening years – and over the course of some 100 performances – he has
approached the age Nixon was on that visit to China, and his portrayal of the
37th president is now flawless. Every gesture, the facial tics, the angle of the
stooped back are perfectly calibrated.”
Classical Review – February 4, 2011
Handel’s
Messiah with the American Bach
Soloists:
“Maddalena retains
an estimable facility with coloratura and expansive range. He knows how to use
his voice for ultimate effect, can pull back when the music demands, and can
still produce glorious sounds.”
SF Classical Voice – December 16,
2010
Todd
Machover’s Death and the Powers with Monte Carlo Opera:
“I heard James Maddalena as Powers develop from careful exact
utterance to eloquent, lyrical delivery of his lines.”
Opera – December 2010
“The cast was led by the pungent
James Maddalena as Simon Powers.”
Opera News December 2010
Clotaldo in Louis Spratling’s Life Is A
Dream at Santa Fe Opera:
James Maddalena as
Clotaldo sang with a warmth that brought much needed light to a gloomy world.”
Opera News – November 2010
“James Maddalena brought a seasoned
baritone and patrician assurance to the role of Basilio’s loyal vassal,
Clotaldo.”
MusicalAmerica.com – August 9, 2010
“The cast is uniformly
top-notch. Standouts include baritone James Maddalena as Clotaldo, Segismundo's
keeper.”
Denver Post – August 1, 2010
“Santa Fe Opera assembled a remarkable
and I might say brave cast that achieved miracles. The complex music must be
very difficult to learn. The cast, all of them, turned in remarkably
accomplished performances. James Maddalena: effective as the Prince’s mentor.”
Opera Today – July 26, 2010
“Baritone James Maddalena was earnest and
endearingly baffled as Clotaldo.”
New York Times – July 25, 2010
“All of the singers deserve more positive
comment than I can provide here. Simply mastering such craggy, wide-ranging
vocal lines is immensely difficult, but all of these artists invested their
performances with rich characterization: baritone James Maddalena as kindly,
concerned Clotaldo.”
The New Mexican – July 25, 2010
“The performances of the singers were all
quite good, including James Maddalena as Clotaldo.”
Out West Arts – July 25, 2010
General Boum, Offenbach’s
La Grande-Duchesse de Gérolstein,
Opera Boston:
“The redoubtable James Maddalena, likewise in outstanding form, is General Boum,
the duchess’s commander-in-chief.”
Financial Times - May 4, 2010
“James Maddalena was truly excellent as
the irascible General Boum.”
Boston Globe - May 1, 2010
Mordecai in Weisgall’s Esther, New
York City Opera:
“James Maddalena made a strong, empathetic Mordecai.”
Opera News – February 2010
“James Maddalena, the Mordecai, has made a
virtue of American roles throughout his career, and is closely identified with
any number of important new American operas. Maddalena was assured vocally.”
Opera Britannia - November 17, 2009
“Strong performances came
from all cast members, including James
Maddalena as Mordecai.”
New Jersey Star Ledger - November 11, 2009
“James Maddalena sang and
acted sensitively as her uncle Mordecai.”
New York Post - November 10, 2009
“James Maddalena sustained sympathy as
Mordecai.”
Financial Times - November 9, 2009
“James Maddalena was a warm-voiced,
sympathetic Mordecai.”
Musical America.com - November 9, 2009
“James Maddalena sustained
sympathy as Mordecai.”
Financial Times - November 9, 2009
“The baritone James
Maddalena found the mix of fear and defiance in the character of Mordecai.”
New York Times - November 8, 2009
“James Maddalena as a dignified, anguished Mordecai.”
San Francisco Chronicle - November 8, 2009
Howard Joyce in Paul Moravec’s The Letter,
Santa Fe Opera:
“Maddalena was his usual strong, characterful self as the lawyer. This was
probably the richest, most complex male character in the opera and Maddalena’s
portrayal was faultless.”
Music Web International - August 18, 2009
“The
cast is wonderful: baritone James Maddalena is superb as the ethically
challenged lawyer, Howard Joyce.”
OperaWest - August 18, 2009
“Baritone James Maddalena lent eloquent voice to the conflicted feelings
of the lawyer, Howard Joyce.”
SFCV.org - August 11, 2009
“James Maddalena gives
a masterful performance as Howard Joyce, the sympathetic but compromised
lawyer.”
Financial Times - August 10, 2009
“James Maddalena gives
a masterful performance as Howard Joyce, the sympathetic but compromised
lawyer.”
Financial Times - August 10, 2009
“James Maddalena
captured the attorney Joyce’s conflicted loyalties well as the friend of Robert
who must betray his principles to obtain the evidence that will save the guilty
Leslie. Maddalena possesses an ample resonant baritone and made the most of his
soul-searching aria.”
Chicago Classical Review - August 5, 2009
“James Maddalena, as
Howard Joyce, Leslie’s deeply conflicted lawyer, was in good voice.”
New York Times - August 4, 2009
“James Maddalena as Howard Joyce, a Singapore lawyer who has no illusions about
Leslie’s actions, provided a welcome vocal and dramatic counterweight to
Racette’s power. He subtly conveyed his dislike for the task of saving a
murderess while carrying out what he must do for the sake of a fellow colonial.
A fortunate circumstance.”
Albuquerque Journal - July 27, 2009
Kecal in Smetana’s Bartered Bride,
with Opera Boston:
“Maddalena just as
easily dug down to the lower registers, singing and acting in a way that
thoroughly captured the role.”
Boston Herald - May 4, 2009
Art Kamen in The Bonesetter's Daughter,
San Francisco Opera:
“Other standouts are
James Maddalena as Art Kamen...”
Dallas Morning News - October 4, 2008
“…and the singers,
including James Maddalena as Ruth's well-meaning but befuddled American Jewish
husband, were first rate.”
Culturvulture.net - October 2, 2008
John Brown in Kirke Mecham’s
John Brown, Lyric Opera of Kansas
City:
“A cast headed by two powerful singing
actors, especially James Maddalena,
whose John Brown evolves as a stern, compassionate, ultimately sympathetic
figure of much complexity.”
Toronto Star - May 17, 2008
“The Lyric could hardly have done
better than casting James Maddalena as Brown. Maddalena, onstage almost without
interruption, makes of Brown a towering and commanding figure.”
Opera Today - May 12, 2008
“Mr. Maddalena is the very
personification of Brown's righteous indignation, with a strong, sinewy
baritone.”
Dallas Morning News - May 9, 2008
“As Brown, baritone James Maddalena
declaims like God giving dictation. This Brown is not a wild-eyed fanatic but a
family man of holy rage, pushed to extremes to right one of history's greatest
wrongs.”
The Pitch - May 9, 2008
“Baritone
James Maddalena sang well and acted strongly in the title role.”
St. Louis Post Dispatch - May 7, 2008
“Brown’s heroism is enhanced by the
bronzed-voice mastery of baritone James Maddalena. It’s hard to imagine anyone
else in American opera who could more powerfully convey both the sympathy and
the hardheadedness of Mechem’s Brown. His was one of the few voices in the cast
that could always project over the busy orchestration.”
Kansas City Star - May 5, 2008
“Mechem's work is breathtaking, aided
by the rich performances of Maddalena.”
Anevibe.com – May 2008
Don Alfonso in Mozart’s
Cosi fan tutte, New York City Opera:
“What made the afternoon work, however, was
Don Alfonso: James Maddalena's graceful stage presence, excellent diction and
discreet humor rode herd on his exuberant young cast mates.”
New York Times – October 24, 2006
“It was a delicacy that Rudel made into
magic, vastly helped by one of those special casts of brilliant young American
singers that characterize New York City Opera at its best:
James Maddalena as the older friend who cynicism rotates the plot.”
New York Post – October 24, 2006
Tovey in Bennett’s
The Mines of Sulphur, Glimmerglass
Opera:
“James Maddalena is his accomplice, Tovey, and he
projects just the right degree of oily cowardice.”
Opera News – November 2005
Jack Hubbard in Adams’
Doctor Atomic, San Francisco Opera:
“The elegant baritone James Maddalena (who created
the title role in Mr. Adams’ ‘Nixon In China’) portrays the meteorologist jack
Hubbard, who must suffer the tirades of General Groves.”
New York Times – October 3, 2005
Oscar in Blitzstein’s
Regina, Bard Summerscape Festival:
“‘Singing actor’ was a preferred term of
description in the cast biographies and it proved accurate: James Maddalena was
particularly fine as Regina’s bitter brother Oscar.”
New York Times – August 1, 200
John Proctor in Ward’s
The Crucible, Opera Boston:
“There in the center, with his deep, fully
realized, effortless characterization and powerful singing, was baritone James
Maddalena as John Proctor, adding yet another memorable role to his lengthy
catalogue. ‘I got chills he second he walked onstage,’ a friend remarked during
intermission, and she was right – Proctor was all there even before he opened
his mouth. He was the only performer who rose above the simplistic, heavy-handed
stage business. Even the other members of the cast applauded him during the
curtain calls.”
Boston Phoenix – April 23, 2005
“Baritone James Maddalena embodied with passionate
conviction the part of a sinful but truthful man, who accepts the consequences
of his actions and will not compromise his conscience, and he backed it up with
centered singing tone. This was a towering performance by a true singing actor,
a complete operatic artist.”
Boston Globe – April 9, 2005
Colonel and Colette in Catán’s
Salsipuedes…, Houston Grand Opera:
“Baritone James Maddalena lent his sweetly firm
voice to the dula roles of the Colonel and Madame Colette. While Maddalena
played the bumbling Colonel as a cross between Mitch Miller and Don Quixote, he
was deliciously clunky as Colette. Never for a minute believably feminie as he
lumbered around in red platform sandals and siny green sheath with matching
turban. He murmured a gorgeous
pianissimo ‘O Captain, my Captain” to end Act II, took a final puff, threw the
cigarette off the pier and salsaed off into the darkness.”
Opera News – February 2005
Bach’s St.
Matthew Passion, The Cantata Singers, Boston:
“Magnificent James Maddalena, heartbreaking in that
last bass aria.”
Boston Phoenix – March 3, 2004
The Captain in Adams’
The Death of Klinghoffer, Brooklyn
Academy of Music:
“James Maddalena was in perfect form as the
captain.”
Opera News – March 2004
“Of the singers, only baritone James Maddalena was
a holdover from the original ‘Klinghoffer’ cast. He was superb in diction and
manner as the weak-willed Captain who considers himself a peacemaker but is
cruelly betrayed by the terrorists.”
Chicago Tribune – December 7, 2003
“The BAM cast served the cause
handsomely, with James Maddalena calmly resolute as the captain.”
MusicalAmerica.com – December 5, 2003
“The baritone James Maddalena who created the role
of the captain, again gives a remarkable portrayal of a decent man who blames
himself for his foolish innocence, singing with wistful warmth and crisp
diction.”
New
York Times – December 5, 2003
