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Madelyn Wanner, mezzo-soprano

Hailed by The Washington Times as a "marvelous mezzo…truly a talent who deserves greater notice," Madelyn Wanner has enjoyed critical acclaim for her work on the operatic stage.  Her portrayal of Sesto in Mozart's La clemenza di Tito was lauded as “eye-opening” and "masterful" (The Washington Times) and "shining with radiance"  (DC Theater Scene).  Her voice was praised as “…convincing and secure, her ornamentation tight and accurate…her voice itself was clear, robust, emotional, yet fearless, possessing just the right qualities to address this opera's peculiar blending of the classical and the baroque”  (The Washington Times). Her Sesto also earned her recognition as one of the Best Scene Stealers of the Year by DC Metro Theater Arts.  Recently, Ms. Wanner was an apprentice artist at Sarasota Opera for their 2016 winter festival, and the Caramoor International Music Festival in New York City. Ms. Wanner was also the alto soloist for the City Choir of Washington’s performance of Handel’s Messiah and the Duruflé Requiem under the direction of Robert Shafer, and with Opera Lafayette in their presentation of Opera and the French Revolution at New York City’s Jazz at Lincoln Center.

Other operatic credits include Mallika/Lakmé (Opera Delaware), Hansel/Hansel and Gretel (Hub Opera Ensemble), Dorabella/Così fan tutte (Baltimore Concert Opera), Carmen/Carmen (Carroll County Summer Opera), Siebel/Faust (Baltimore Concert Opera), Prince Orlovsky/Die Fledermaus (Carroll County Summer Opera), Rosina/Il barbiere di Siviglia (Maryland Opera Studio), Paula/Florencia en el Amazonas (Maryland Opera Studio), Cherubino/Le nozze di Figaro (Peabody Conservatory), L’Enfant/L’Enfant et les sortiléges (Peabody Conservatory), Second Lady/Die Zauberflöte (Peabody Conservatory), and Iolanthe/Iolanthe (Young Victorian Theatre Company).

She has been a winner in the Annapolis Opera competition, a regional finalist in the Metropolitan Opera National Council Auditions, and a finalist in the National Opera Association Competition. 

Concert credits include the alto soloist in Handel’s Messiah at the John F. Kennedy Center for the Performing Arts (Washington, DC), Mahler’s Lieder eines Fahrenden Gesellen with the Prince George’s Philharmonic, the Baltimore Symphony Orchestra's outreach concert series at the Meyerhoff Symphony Hall, Manuel DeFalla's El corregidor y la molinera with the Inscape Chamber Orchestra at the National Gallery of Art, Vivaldi’s Gloria under the direction of Robert Shafer (Washington Summer Sings!), Handel’s Messiah (New Castle Music Club), and Mozart’s Vesperae solennes de Confessore and Requiem (Central Maryland Chorale).

An advocate of new music, she has sung the role of Bobachino with Wolf Trap Opera for their reading of John Musto’s opera The Inspector, and has premiered and recorded several new works.