Madeleine Gray


Madeleine Gray was born in New York, but for many years made her home in the United Kingdom. She is a graduate of the Royal Northern College of Music, where her awards included a major grant from the Peter Moores Foundation.

Since her return to the US, she has performed regularly with the Washington National Opera, where she made her debut as Rebecca Nurse in special performances of The Crucible, and returned as Mamma Lucia in critically-acclaimed concert performances of Cavalleria Rusticana, opposite Dolora Zajick and the late Salvatore Licitra, as The Duchess of Krakenthorp in La Fille du Régiment and to cover Flora in La Traviata and The Mayor’s Wife in Jenufa. In 2015 she rejoined the company as Sister Gerald in Poulenc’s Dialogues of the Carmelites.

A favorite with the former Baltimore Opera, her many roles with the company included Berta in Il barbiere di Siviglia, the Fourth Maid in Elektra, Marcellina in Le nozze di Figaro, the Voice of Antonia’s Mother in Les contes d’Hoffmann and Anna in Maria Stuarda.

Other recent performances include Marcellina in Le nozze di Figaro with Lyric Opera Baltimore and Annapolis Opera, Frugola and La Zelatrice in Puccini’s Il Trittico with Baltimore Concert Opera, Verdi’s Requiem for the Annapolis Chorale, Teresa in La sonnambula with Washington Concert Opera, Aurelia in The Chocolate Soldier at the Bard Festival, The Witch in Hansel and Gretel for Opera on the James, Emilia in Otello with Opera Roanoke, and Mamma Lucia in Cavalleria Rusticana for Toledo Opera.

Other US performances include her Avery Fisher Hall debut as alto soloist in the Messiah with the National Chorale, a return to the National Cathedral Choral Society as mezzo soloist in the Mozart Requiem, performances of Messiah, the Verdi Requiem, and Bruckner’s Te Deum with the Annapolis Chorale, Third Lady in Die Zauberflöte with Opera Columbus, and she created the role of Marie in the world premiere of Donizetti’s “lost” opera Élisabeth, ou la fille de l’exilé at the Caramoor International Festival, conducted by noted bel-canto scholar Will Crutchfield.

Other roles in her wide-ranging operatic repertoire include Geneviève (Pelleas et Melisande), Ma Moss (The Tender Land), Mrs Herring (Albert Herring), and Baba (The Medium), a role for which she has received considerable recognition, including earning a “Pick of the Fringe” award from the Buxton Festival for her performance.

She is also a frequent recital and concert performer, with numerous appearances throughout Europe and the United States. Recent projects include the area premiere of songs by Scottish composer Francis George Scott, as well as a program devoted to works inspired by Baltimore native son Edgar Allan Poe.


Composer Role Work Company Year
Purcell The Sorceress Dido and Aeneas Opus Concert Theater 2016
Humperdinck The Witch (cover) Hansel and Gretel Washington National Opera 2015
Poulenc Soeur Gérald Dialogues of the Carmelites Washington National Opera 2015
Bellini Teresa La sonnambula Washington Concert Opera 2012
Puccini Frugola/La Zelatrice Il trittico Baltimore Concert Opera 2012
Mozart Marcellina Le nozze di Figaro Lyric Opera Baltimore 2012
Gilbert & Sullivan Dame Carruthers The Yeoman of the Guard Young Victorian Theatre Company 2011
Mozart Marcellina Le nozze di Figaro Annapolis Opera 2011
O. Straus Aurelia The Chocolate Soldier The Bard Festival 2010
Humperdinck The Witch Hansel and Gretel Opera on the James 2009
Verdi Emilia Otello Opera Roanoke 2009
Gilbert & Sullivan Duchess of Plaza-Toro The Gondoliers Young Victorian Theatre Company 2008
Mascagni Mamma Lucia Cavalleria Rusticana Washington National Opera 2008
Mascagni Mamma Lucia Cavalleria Rusticana Toledo Opera 2008
Gounod Gertrude Roméo et Juliette Baltimore Opera 2008
Donizetti Anna Maria Stuarda Baltimore Opera 2007
Janacek Mayor’s Wife (cover) Jenůfa Washington National Opera 2007
Menotti Baba The Medium Baltimore Opera at Artscape Festival 2006
Gilbert & Sullivan Lady Sangazure The Sorcerer Young Victorian Theatre Company 2006
Purcell The Sorceress Dido and Aeneas Philadelphia Concert Opera 2006
Britten Mrs. Herring (cover) Albert Herring Gotham Chamber Opera 2006
Mozart Marcellina Le nozze di Figaro Baltimore Opera 2005
Gilbert & Sullivan Katisha The Mikado Salt Marsh Opera 2004
Composer Role Work
Barber The Baroness Vanessa
Britten Mrs. Sedley Peter Grimes
Debussy Geneviève Pelleas et Mélisande
Donizetti The Marquise of Berkenfeld La fille du Régiment
Floyd Mrs. McLean, Mrs. Ott Susannah
Gilbert & Sullivan Little Buttercup HMS Pinafore
Gilbert & Sullivan Ruth The Pirates of Penzance
Heggie Mrs. De Rocher Dead Man Walking
Massenet Mme de la Haltière Cendrillon
Moore Augusta Tabor, Mama McCourt The Ballad of Baby Doe
Mozart Dritte Dame Die Zauberflöte
Poulenc Mme de Croissy Dialogues of the Carmelites
Puccini Zita Gianni Schicchi
Puccini Suzuki Madama Butterfly
Puccini La Zia Principessa Suor Angelica
Rodgers & Hammerstein Bloody Mary South Pacific
Rossini Berta Il barbiere di Siviglia
Stravinsky Baba the Turk The Rake’s Progress
Tchaikovsky Filipyevna Eugene Onegin
Verdi Quickly Falstaff
Verdi Annina La traviata
Verdi Azucena Il trovatore
Ward Rebecca Nurse The Crucible
Composer Work
Bach Christmas Oratorio
Beethoven Mass in C
Beethoven Symphony No. 9
Beethoven Choral Fantasia
Bruckner Te Deum
Dvořák Mass in D
Elgar The Music Makers
Elgar The Dream of Gerontius
Elgar Sea Pictures
Haydn Masses (various)
Honegger Le Roi David
Handel Messiah
Mahler Symphony No. 3
Mendelssohn Elijah
Mendelssohn Lobgesang
Mozart Requiem
Mozart Vesperae Solennes de Confessore
Rossini Masses (various)
Rachmaninoff Vespers
Rossini Petite Messe Solonelle
Rossini Stabat Mater
Saint-Saëns Christmas Oratorio
Verdi Requiem
Vivaldi Gloria


In The Press


“… Madeleine Gray did vivid work as Turiddu’s distraught mother, Mamma Lucia.” -Baltimore Sun

“…although this was a concert opera, all of the artists sang from memory and acted every moment of the score just as if it were a staged performance. The sense of drama and tragedy was maintained from beginning to end….. Madeleine Gray[‘s] voice is dark-hued, plummy and rich. She used her hands in such an expressive and Italianate way to convey the text, and was most sympathetic in her scenes with Santuzza and Turiddu.” –


“Gray, as Katisha, has perhaps the best voice in the cast, and she uses it to great effect in her scary grand entrance. Her acting matches her vocal strength, and she makes the transformation from witch to wench quite admirably.” – The Day


“Madeleine Gray as Berta far exceeded the demands of the role. For me, she was the surprise of the evening. She has a big, well-focused voice, and was comic as well. I look forward to seeing more of her.” – Der Neue Merker

“Proving there are no small roles, only small voices, ample-toned Madeleine Gray had a field day as the servant Bertha, even stealing the limelight – and some of the music – from Rosina in the Act 1 finale” – Opera News


“Madeleine Gray is the linchpin as Madame Flora… She gave a performance of enormous vocal strength, as well as portraying the crumbling of mind and personality powerfully.” – Manchester Evening News – UK

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