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Nancy Maultsby

  • Mezzo-Soprano

Reviews

Nancy Maultsby press reviews

Tan Dun’s Tea

“Nancy Maultsby’s ocean-deep alto sensitively inhabited characters including a tea ritualist and Lu Yu’s daughter, Lu…”

Craig Smith The New Mexican (July 22, 2007)

“…The cast would be hard to beat…Nancy Maultsby produces earth-mother tones as the Tea Ritualist and Lu Yu's daughter.”

Scott Cantrell The Dallas Morning News (August 5, 2007)

“In three important roles, Nancy Maultsby sings with rich conviction, acts impressively.”

John Stege Santa Fe Reporter (July 25, 2007)

Un Ballo in Maschera

“It would be hard to imagine a more convincing, more delightful portrayal of Mam'zelle Arvidson [(Ulrica)] than that of Nancy Maultsby, who uses her dark-hued mezzo-soprano voice to stunning effect. She hobbles on two canes and twists her body, deftly inhabiting the character…”

Kyle MacMillan Denver Post (April 30, 2007)

Aida

“…Mezzo-soprano Nancy Maultsby delivered a charismatic performance, both vocally and theatrically as the shunned Amneris. She has a rich beautiful sound which she used easily. Combined with her impassioned delivery, Maultsby's Amneris seemed like the tragic and important character.”

Jim LoweTime Argus (May 22, 2006)

Die Fledermaus

“Nancy Maultsby, another ‘Ring’ veteran, was a most adroit and convincing Prince Orlovsky, a cross-gender ‘pants role’ that's notoriously difficult to bring off.”

Melinda Bargreen – The Seattle Times (January 16, 2006)

“Nancy Maultsby offered a suitably saturnine yet mercurial Prince Orlofsky…”

Bernard Jacobson – Seen and Heard International (Jan 28, 2006)

 

Giulio Cesare

“Nancy Maultsby's dark, soft grained mezzo voice made her a perfect Cornelia…”

Maria Nockin – Opera Japonica (July 1, 2005)

 

Der Ring Des Nibelungen

“Nancy Maultsby as an anxious, urgently sung Waltraute, [was] powerful, dramatically and musically.”

John HulcoopOpera News (November 2005)

 

Béatrice et Bénédict

“In the part of Ursule was another American mezzo…Nancy Maultsby, who lays on a rich carpet of sound, sometimes recalling a classic contralto. I remember, in particular, a splendid solo she once contributed to Prokofiev’s ‘Alexander Nevsky,’ with this same orchestra…She accorded [Ursule] considerable dignity and beauty.”

Jay Nordlinger – The New York Sun (April 14, 2003)

“Susan Gritton’s…duet with Nancy Maultsby, perhaps the most ravishing piece in the opera, was breathtaking.”

Howard Kissel – Daily News (April 11, 2003)

“Susanne Mentzer, Nancy Maultsby and Susan Gritton made indelible magic out of that luminous braid of sound. Their singing skimmed weightlessly over the orchestra’s colored clouds.”

Justin Davidson – New York Newsday (April 11, 2003)

“Gritton and mezzo-soprano Nancy Maultsby, as Héro’s attendant, Ursule, blended beautifully in a haunting ‘Nuit paisible et sereine!’ the nocturne concluding Act One.”

Bruce-Michael Gelbert – TheaterScene.net (March 15, 2003)

 

The Death of Klinghoffer

“As Marilyn Klinghoffer, Nancy Maultsby provided the evening's standout performance. Deploying her rich fruity mezzo with the greatest sensitivity, Maultsby made the tragic woman's sense of loss and desolation in the opera's final scene intensely moving.”

Lawrence A. JohnsonSun-Sentinel (December 6, 2003)

“The baritone Stephen Powell and the mezzo-soprano Nancy Maultsby as the Klinghoffers offer vocally assured and deeply affecting performances.”

Anthony TommasiniThe New York Times (December 5, 2003)

 

Concert and Recital

“[Maultsby] combines a warm, lustrous and versatile voice with artistic intelligence and intensity of expression.”

Tim PageWashington Post (October 2, 2006)

“Maultsby, too, has a voice of great amplitude but used it thoughtfully [in Verdi’s Requiem], capturing the heavy emotions of the ‘Liber scriptus’ and the poignance of the ‘Recordare.’”

Michael AnthonyStar Tribune (June 3, 2005)

“The program assigned American mezzo soprano Nancy Maultsby the task of popping onstage between orchestral numbers to sing an aria from Verdi's "Don Carlos" and the "Seguedille" from Bizet's “Carmen,”… Maultsby gilded the show with Carmen's seduction song, her performance filled with sparkling turns and gorgeous low notes.”

“It was a joy to see Nancy Maultsby refuse to be the unheard mezzo. She let fly with her usually buried part and made it important. Being the owner of one of the lushest mezzo voices on the planet didn’t hurt her cause.”

Paul Somers – The Classical Society Journal (May 14, 2003)

“Mezzo-soprano Nancy Maultsby was the guest artist. Maultsby is in increasing demand by opera companies and symphonies throughout the world. It seems inadequate to describe her as possessing a lovely, full-bodied voice, but that is what she has.”

Peg Goldberg – Naples Daily News (March 15, 2003)

"Nancy Maultsby enriched the whole performance with her plummy mezzo tones and poignant expression in the fourth movement”

Tim Smith - The Baltimore Sun (June 15, 2002)

“Nancy Maultsby, who joins the BSO this week for Mahler’s Third, offered a sumptuous tone and terrific expressive voice.”

Tim Smith The Baltimore Sun (June 11, 2002)

“…Nancy Maultsby. Long known as promising, this American mezzo has evolved into an artist who doesn't just have a profound understanding of what the music is up to, but also projects it with the kind of concentration that's possible only when the usual preoccupation with the mechanics of singing is minimal. From that comes a rare lack of calculation. And how gratifying it is to hear the idea of the music projected with diction and phrasing falling into place unerringly. Among the soloists, Maultsby seemed closest to music director Wolfgang Sawallisch's distinctive interpretation.”

David Patrick StearnsThe Philadelphia Inquirer (June 8, 2002)

 

“…soloists were Nancy Maultsby…With her sumptuous, agile mezzo-soprano, Maultsby’s Anna was a deft blend of meddlesome sibling and genuinely concerned friend.”

Wynne Delacoma - Chicago Sun Times (April 13, 2002)

“Mezzo soprano Nancy Maultsby offered splendor on almost every syllable, presenting the words clearly and yet with consistent, liquid gilding. The highlight of her performance was the thrillingly enraptured phrase she produced just before the apostrophe to beauty in ‘Der Abschied.’”

Paul Griffiths – The New York Times (April 30, 2002)

“Nancy Maultsby’s rich, well-projected alto remained solid throughout her entire range, with tones - even the softest pianissimi - that landed squarely in your lap. Maultsby’s genuine expressiveness evoked much feeling in Der Einsame im Herbst, and Der Abschied, where she alternated between inspired ecstasy and gloomy resignation.”

Victor Carr, Jr. – Classics Today (April 26, 2002)

“The ever dependable Nancy Maultsby, as Dido’s sister, blended her smoky mezzo beautifully with Michael [Nadja] in their duet.”

John von RheinChicago Tribune (April 13, 2002)

“Her strong rich voice carried well in all dynamic levels and ranges.”

Rebecca Cline Howard Desert News (March 25, 2002)

“Nancy vividly portrayed sorrow in “The Lonely One in Autumn” and nostalgia in “Of Beauty,” but the real payoff came in the final song, “The Parting.” This 30-minute movement, the emotional heart of the piece, transforms itself miraculously from grief to serene acceptance of death. Maultsby’s performance matched the orchestra and text perfectly, moving from darkness into radiance.”

Catherine ReeseThe Salt Lake Tribune (March 25, 2002)

“Maultsby brought a rich sound and assertive presence to that rarity…”

Sarah B. Miller St. Louis Post-Dispatch (December 3, 2000)

"Beautifully rounded sounds came from Nancy Maultsby (Martha)…"

Tim Smith- The Sun (November 2000)

“[In Beethoven’s 9th,] Maultsby was particularly incisive in a role that often disappears and fails to make an impression.”

Ron EmeryTimes Union (August 29, 2000)

“Nancy Maultsby produced opulent tone in a role that doesn’t often get it.”

Richard Dyer The Boston Globe (August 29, 2000)