Theatre Resume

119 West 72nd Street
New York, NY 10023
212-439-8055
www.encompassarts.com

Maureen O’Flynn

OPERA
28 year career singing leading soprano roles in virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Covent Garden, Vienna Staatsoper, La Fenice with conductors including Riccardo Muti, Placido Domingo, Marco Armiliato, Maurizio Benini, Antonia Pappano.

TRAINING
28 year career as an international opera singer!
On-Camera Audition Intensive – Heidi Marshall, director

SKILLS AND INTERESTS
Voice teacher, languages/dialects; conversational Italian, cooking, gardening, softball, football, ping-pong, horseback riding, dogs, calligraphy.

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Curriculum Vitae

EDUCATION

A 35 year international career (1980-2015) as leading soprano in the world’s greatest opera houses and a 42 year and counting career as actor/singer in musical theater, theater, and cabaret.

Teaching

The invaluable and irreplaceable learning and education that comes from teaching. I am by far a better singer/artist and human being for having been a teacher for the last 12 years. My students have ranged from ages 15 to 75, aspiring artists, undergraduates and graduates, and non-professionals, of all voice types. I have taught at a private studio in New York City, and in the Berkshires, intermittent master classes at universities, and the teaching faculty experience below.

Voice Teachers: William Metcalf, Diana Soviero

TEACHING/FACULTY EXPERIENCE

Hartt School of Music, West Hartford, CT, 2011 – 2019
Adjunct Teacher of Voice:
Applied studio, with undergraduate and graduate students (performance, education, or acoustic majors, and intermittent studio classes. Studio load of 10 to 18 students per semester.

Artescenica Encuentro, Saltillo, Mexico 2011 – present
Voice Faculty
A member of the voice faculty for a three week summer intensive training program for young Mexican opera singers. Number of students anywhere from 40 to 65, ranging from ages 15 to 35, teaching 8 to 9 students a day, all voice types. Participate in selecting scenes and arias for students singing weekly recitals and culmination of operatic scenes at the end of the festival. Assist in coaching with Italian and French diction, and assist the stage direction for the scenes program.

Opera de San Miguel Voice Competition 2015 – 2019
Resident Artist/Master Instructor

This is a yearly voice competition for emerging Mexican opera singers in San Miguel, Mexico. Every year, 12 to 15 finalists are invited to come to San Miguel for the week preceding the final competition on Saturday of that week. For five days, I conduct morning and afternoon master class sessions onstage, with all the finalists in attendance, and work technically end dramatically on their two selections for the final competition. The public is invited to these master classes. The day before the final competition, I work with other professionals who are invited each year, such as agents, conductors, and stage directors, in giving our professional advice and consultation to these young singers after having worked with them for the week.

I also sing evening soirées and at functions for fundraisers for the organization.

PERFORMING EXPERIENCE

OPERA COMPANIES
Metropolitan Opera
Vienna Staatsoper
Royal Opera Covent Garden
La Fenice
La Scala
Hamburg Staatsoper
Deutsche Oper Berlin
Palacio Festivales, Santander, Spain
Opera Bilbao, Spain
Teatro Cervantes, Malaga, Spain
Maggio Musicale, Firenze
Genova, Carlo Felice
Teatro Comunale, Bologna
Teatro San Carlo, Napoli
Teatro Massimo, Palermo
Teatro Massimo Bellini, Catania
Arena di Verona
Opera Northern Ireland
Wexford Festival, Ireland
Chicago Lyric Opera
Houston Grand Opera
Dallas Opera
San Diego Opera
Portland Opera
Minnesota Opera
Michigan Opera
Indianapolis Opera
Opera Co of Philadelphia
New York City Opera
Opera Pacific
Washington National Opera
Arizona Opera

OPERATIC ROLES
Magda La Rondine Puccini
Mimi La Bohème
Lauretta Gianni Schicchi
Liu Turandot
Gilda Rigoletto Verdi
Violetta La Traviata
Nanetta Falstaff
Micaela Carmen Bizet
Leila Les Pêcheurs de Perles
Manon Manon Massenet
Juliette Romeo & Juliette Gounod
Marguerite Faust
Pat Nixon Nixon in China Adams
Olympia/Antonia/Guilietta Tales of Hoffmann Offenbach
Lucia Lucia di Lammermoor Donizetti
Adina L’Elisir D’Amore
Linda Linda di Chamounix
Marie La Fille du Regiment
Amina La Sonnambula Bellini
Elvira I Puritani
Adele Le Conte Ory Rossini
Amenaide Tancredi
Susanna Le Nozze di Figaro Mozart
Donna Anna Don Giovanni
Pamina The Magic Flute
Costanze Abduction from the Seraglio
Despina Cosi Fan Tutte
Sandrina L’Oca Del Cairo
Celidora La Finta Giardiniera
Blue Fairy Adventures of Pinocchio Dove
Hannah The Merry Widow Lehar
Anna Merry Wives of Windsor Nicolai
Gretel Hansel and Gretel Humperdinck

CONDUCTORS
Riccardo Muti
Nella Santi
Placido Domingo
James Conlon
Marco Armiliato
Antonio Pappano
Julius Rudel
Anton Coppola
Bertrand de Billy
Christian Badea
Marcello Viotti
Daniel Oren
Edoardo Mueller
Richard Bonynge
Maurizio Benini
Maurizio Barbacini
Antonello Allemandi
Leonard Slatkin
Frederic Chaslin
ORCHESTRAS
Minnesota Orchestra
Israel Philharmonic
Orlando Symphony
Milwaukee Symphony
National Symphony
Washington Concert Opera
Springfield Symphony
Albany Symphony

CONCERT/RECITAL
Poème de L’Amour et de la Mer Chausson
Requiem Faure
Alexander’s Feast Handel
Judas Maccabeus
Psalm 112
The Creation Haydn
Coronation Mass Mozart
Exultate Jubilate
Great Mass in C Minor
Requiem
Stabat Mater Rossini
Christmas cantata Scarlatti

THEATRE/MUSICAL THEATRE ROLES
Desireé A Little Night Music Sondheim
Rose Street Scene Weil
Jenny Company
Guinevere Camelot Lerner & Lowe
Eliza My Fair Lady
Julie Carousel Rodgers & Hammerstein
Laurie Oklahoma
Polly The Beggar’s Opera Gay
Mabel Pirates of Penzance G&S
Josephine Pinafore
Rosamond Robber Bridegroom Waldman
Meg Damn Yankees Bock/Edwards
Mary Magdalen Superstar Webber
Sister Rita The Runner Stumbles Stitt
Mrs. Cratchit Christmas Carol Dickens
Queen/Claudia The Taster Ackermann
Maggie Sheltering Snow
Marianne The Miser Molière
Jennie Chapter Two Simon

THEATRES
New York Music Festival, Theatre Row
Shakespeare and Company
Mixed Company Theatre
Berkshire Theatre Festival/Group
Berkshire Public Theatre
TELEVISED PERFORMANCES
Live from Lincoln Center, Le Nozze di Figaro, (Susanna) New York City Opera, 1991
Richard Tucker Gala, Avery Fisher Hall, New York, 1991, 1998
Richard Tucker Gala, Maggio Musicale, Firenze, Italia, 1999
Lucia di Lammermoor, Vienna Staatsoper, Euro TV, 1999
Richard Tucker Gala, Covent Garden, London, 2000

CONTACT INFO

Opera/Film/TV/Theatre Representation: Katherine Olsen, Encompass Arts
Management: Kathy@encompassarts.com, 646-552-3959

SELECTED REVIEWS

Romeo and Juliette/Metropolitan Opera
“Natalie Dessay was replaced by Maureen O’Flynn as the femme lead in the Metropolitan Opera’s
new production of Charles Gounod’s ‘Romeo and Juliette’. By final curtain, it was apparent that her
Juliette was the major reason to hear Gounod’s war horse …. [O’Flynn] proved herself to not only be a
superb technician, with the full coloratura arsenal at her disposal, but a sensitive interpreter who gave
shape to Gounod1s sometimes bombastic music. Throughout her range, there are real, varied colors.”
Robert Hofler, Variety

Romeo and Juliette/Dallas Opera
“O’Flynn is sublime. Brilliant coloratura runs and lighthearted flirting at the outset are contrasted
moments later with a haunting minor-key melody of stunning clarity. For Juliette, time stands still,
and O’Flynn leaves the audience breathless as the action rushes onward. Her voice throughout retains
a velvety sweetness.”
Chris Shull, Dallas Arts

Rigoletto/Royal Opera House, Covent Garden[O’Flynn] was incandescent. For the second time in a week there was a memorable house debut,
this time from the American soprano Maureen O’Flynn as Gilda. Her voice is beautiful, pure and
sweet, her technique sure. ‘Caro Nome’ was sung with assured style, and her poised pianissimos in
the death scene would melt even a critics heart. She is a refreshingly unaffected artist, singing and
acting straight from the heart.”
Rodney Milnes, London Times

Rigoletto/Carlo Felice di Genova
“Strepitosa, poi, la Gilda angelicamente disegnata dalla voce di Maureen O’Flynn, anch’ella
trionfalmente acclamata del pubblico, percepibilmente incantato (e non solo da “Caro Nome” e
dalla levitazione ne siderale del suo canto nel finale).”
Claudio Tempo, Spettacoli

La Boheme/Berkshire Opera
“On Friday evening, Maureen O’Flynn bore that mien of fragile virtue that personifies Mimi
throughout. O’Flynn’s voice continues to amaze, with a lovely, even top to bottom plangent tone,
spinning out those diminuendo phrases from piano to pianissimo and back again. Her defining ‘Mi
Chiamano Mimi’ was gorgeous, but so was her touching, convincing farewell to love, ‘Addio, senza
rancor’”.
Richard Houdek, The Berkshire Eagle

La Traviata/Berkshire Opera
“Soprano Maureen O’Flynn is a complete and compelling actress… She was overwhelming – agile
and silvery in the coloratura of Act I, every feverish trill in place, and intimately communicative in
the later acts, in which her vibrant tone responded to the pressure of every emotional nuance of
situation, text, and music. She sang…with tenderness, regret, and unearthly, shimmering high soft
tones. You can see huge emotion surge through the soprano’s tiny body. Her face is unguarded,
vulnerable, and led by truth-telling eyes. To watch her in the moment when Violetta realizes that
she is indeed going to die, that even Alfredo’s return cannot save her, was almost unendurable, and
her passionate outcry of protest to God tore at the heart.”
Richard Dyer, Boston Globe

Lucia di Lammermoor/Philadelphia Opera
“Maureen O’Flynn deserved a queen’s crown for her Lucia. Her pristine soprano was so incredibly
effortless, so free of the tiniest hint of any stress that it could serve as a model for any other aspiring
Lucia …. O’Flynn acted with intense feeling. In her hands, and voice, the famous Mad Scene … was
nothing less than incredible … elegantly airy coloratura coupled with delicacy of interpretation, O’Flynn
stunningly characterized the shattered Lucia. If this wasn’t a definitive Mad Scene, nothing is.”
Joseph Pronechen, Philadelphia Inquirer

Lucia di Lammermoor/Vienna Staatsoper
“No less impressive than Ramon Vargas, was Maureen O’Flynn who created a touching portrayal of
the title character with her emphatic sensitivity, emotional intensity, and her stupendous coloratura
bravura.”
Die Presse

I Puritani/Deutch Oper Berlin
“American soprano Maureen O’Flynn outshined her predecessors with her generous coloratura
soprano elevating scenes and ensembles. She sang Elvira’s music with profound emotional depth
and warmth.”
Der Tagesspiegel

La Fille du Regiment /Philadelphia Opera
“You can’t do much better than to have several memorable arias sung by a coloratura with a dazzling
talent who also happens to be hilariously funny. Maureen O’Flynn’s natural flair for comedy was
an unexpected delight. She is a vocal stunner. The music for her character, the beloved orphan
adopted by the regiment, splashes far and wide, like fiery little stars from a sparkler set ablaze at a
celebration. O’Flynn picked each one out of the ether with ease and grace, clarity and perfection.”
Joyce Mullins, Philadelphia Inquirer

Le Nozze di Figaro/New York City Opera
“O’Flynn’s performance was the finest; even tempered, ingenuous despite her cleverness and
capable of great depth. To her belong the two most touching moments of the day: the quiet embrace
of Figaro at the end of Act 111, and, best of all, a spellbinding ‘Deh Vieni’ in Act IV.”
Peter Goodman, Opera News

My Fair Lady/Berkshire Theatre Festival
“The star of this marvelous evening is Maureen O’Flynn whose arias sore so effortlessly and who’s
pebble-filled mouth can emit such yowls. She gives us a character who not only delights but who
grows before our eyes. Her quiet, dignity, fueled by anger, as Higgins gloat over his successes
contains wise maturity … O’Flynn’s skill as an actress matches that of her singing.”
Francis Ben Hall, Albany Times Union

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