Deborah Nansteel

mezzo-soprano

Photos by Arielle Doneson

>Press Photos

Mezzo-soprano Deborah Nansteel made her début with The Metropolitan Opera as Alisa in Lucia di Lammermoor, her début with the Lyric Opera of Chicago as Gertrude in Roméo et Juliette, her Carnegie Hall début in Mozart’s Coronation Mass, and her New York Philharmonic début alongside Eric Owens in In Their Footsteps: Great African American Singers and Their Legacy. She performed the role of Mother in the world premiere of Blind Injustice with Cincinnati Opera which will soon be commercially released on the Cincinnati Symphony Orchestra’s Fanfare Cincinnati label, and participated in Glimmerglass Opera Festival’s digital production of Jungle Book as Raksha.

In the Spring and Summer of 2021, Ms. Nansteel performed Azucena in concert performances of Il trovatore with Opera Tampa and returned to Santa Fe Opera as Filippyevna in Eugene Onegin. This season, engagements include Azucena in Il Trovatore with Toledo Opera, Paula in Florencia en el Amazonas in a return to the Lyric Opera of Chicago, Sally in Kevin Puts’ new opera The Hours with The Philadelphia Orchestra, and a return to The Metropolitan Opera as Alisa in a new production of Lucia di Lammermoor.

This summer, Ms. Nansteel will perform Marcellina in Le nozze di Figaro with Maryland Lyric Opera, sing Beethoven’s 9th Symphony with the Milwaukee Symphony, sing in Finger Lakes Opera’s 10th Anniversary Gala, and make her debut with the Los Angeles Philharmonic as Rossweisse in Die Walküre under Gustavo Dudamel. Next season, she will make her house debut with the San Francisco Opera in their productions of Eugene Onegin and Dialogues of the Carmelites, sing Gertrude in Hansel & Gretel for New Orleans Opera, Mother Abbess in Suor Angelica for Opera Omaha, debut the role of Amneris in Aida for Opera Grand Rapids, sing Verdi’s Requiem for Orchestra Iowa, and return to the Metropolitan Opera as Annina in La Traviata.

Since her debut with the Lyric Opera of Chicago, Ms. Nansteel has returned for Nabucco, Il Trovatore, as Siegrune in Die Walküre, and in her final production of 2020, Suzuki in Madama Butterfly. She originated the role of Lucinda in the world premiere of the Pulitzer Prize-winning composer Jennifer Higdon’s adaptation of Charles Frazier’s thrilling novel Cold Mountain at Santa Fe Opera. Other notable engagements include Granma in The Grapes of Wrath with the Michigan Opera Theatre, a reprisal of the role of Lucinda in Cold Mountain with North Carolina Opera, the role of Grace in The Summer King with Michigan Opera Theatre, Second Lady in The Magic Flute with the Pacific Symphony, The Mother in The Consul with Opera Saratoga, Jake Heggie’s The Work at Hand for the Mainly Mozart Festival, Nettie Fowler in Carousel and Elvira Griffiths in An American Tragedy and Mary in Der fliegende Holländer with Glimmerglass Opera Festival, and Berta in Rossini’s Il barbiere di Siviglia with San Francisco Opera’s Merola Opera Program.

Ms. Nansteel completed the Washington National Opera Domingo-Cafritz Young Artist Program, where she performed many roles including Tisbe in La Cenerentola, Third Lady in Die Zauberflöte, Curra (cover Preziosilla) in La forza del destino, Paula (cover) in Florencia en el Amazonas, as part of a world-premiere performance of Douglas Pew and Dara Weinberg’s new opera Penny, as well as The Cat in Tony Award winning composer Jeanine Tesori’s The Lion, the Unicorn, and Me. As a mainstage artist, she returned there as Flora in La Traviata, Dame Marthe in Faust, which she also performed at Dayton Opera, as Emilia in Otello, Second Lady in The Magic Flute, and as the Marquise of Birkenfield in La fille du regiment with Justice Ruth Bader Ginsberg, which is featured in the documentary film RBG.

Ms. Nansteel has performed Handel’s Messiah with the Memphis Symphony and Charleston Symphony; John Harbison’s Mirabai Songs with the Oregon Mozart Players; Beethoven’s Symphony No. 9 with Seattle Symphony and Fondazione Orchestra Sinfonica e Coro Sinfonico in Milan under the baton of Maestro Xian Zhang; the role of Brigitta in Bard Music Festival’s Die tote stadt in concert; and various additional concerts including Stravinsky’s Les noces, Penderecki’s Credo, and Handel’s Israel and Egypt.

Ms. Nansteel made her main stage debut at Seattle Opera as La suora infermiera in Suor Angelica, sang Juno and Ino in Handel’s Semele, Foreign Woman in The Consul, and, as a former member of Seattle Opera’s young artist program, Giulietta in Verdi’s Un giorno di regno and Maddalena in a performance of Rigoletto.

Ms. Nansteel is a graduate of the University of Cincinnati College-Conservatory of Music (CCM) where she earned an Artist Diploma in Opera and a Master of Music in Voice. At CCM, she performed the roles of Berta in Il barbiere di Siviglia, Marguerite in Berlioz’s La damnation de Faust, Mother Marie in Dialogues des Carmélites, Bianca in The Rape of Lucretia, and Mother Goose in Stravinsky’s The Rake’s Progress. She also received Bachelor of Music degrees in both Vocal Performance and Vocal Jazz Studies from East Carolina University and currently studies with Diana Soviero.

Recent awards include Second Place in the Sun Valley Opera competition in Seattle, the Andrew White Award and Seybold/Russel Award in the Corbett Opera Scholarship Competition, and a Winner in the National Orpheus Vocal Competition. She also recently earned the highly-esteemed Betty Allen Award and a grant from the Sullivan Foundation.

Ms. Nansteel appears courtesy of The Metropolitan Opera.

Deborah Nansteel will perform with The Orchestra Now on May 7, 8, & 12, 2022.

Bio: April 2022