For mezzo-soprano Maire Therese Carmack, a return to Pittsburgh is more than another stop on an increasingly impressive operatic journey. It is a return to one of the places where that journey began.
A former Pittsburgh Opera Resident Artist, Carmack left the program in 2022 and has since performed on some of the world’s most prestigious stages, including the Metropolitan Opera, Deutsche Oper Berlin, Opéra de Monte-Carlo and Semperoper Dresden. Along the way, she has taken on roles ranging from Mozart to Wagner and earned international recognition as the Third Prize winner of the Operalia World Opera Competition.
Now she is back at the Benedum Center, this time as Maddalena in Verdi’s Rigoletto. Opera News has praised Carmack’s “deep mezzo and vibrant metallic timbre” and noted her ability to “take focus by her very presence.”
In Rigoletto, Maddalena is a character who refuses to fit neatly into the traditional categories of villain, victim or seductress. Carmack sees her as a woman with complicated motives and a story that leaves room for interpretation—particularly in this production’s intriguing relationship between Maddalena and her brother, the assassin Sparafucile.
Before opening night, Pittsburgh Opera’s Chris Cox sat down with Carmack to talk about her return to Pittsburgh, her journey since the Resident Artist Program, the challenges of playing Maddalena and why, nearly 170 years after its premiere, Rigoletto continues to resonate with audiences.
Chris Cox: Therese, welcome back! We’re glad to have you in Pittsburgh again. What have you been up to since you finished the Pittsburgh Opera Resident Artist Program?
Maire Therese Carmack: I finished in 2022. I went to Santa Fe Opera for a summer, then to Deutsche Oper Berlin for a year, and then to the Metropolitan Opera for the Lindemann Young Artist Development Program. After that, I started freelancing. I’ve been very lucky to sing at a lot of wonderful houses, most recently Opéra de Monte-Carlo and Semperoper Dresden.
Chris Cox: Those must have been amazing experiences, wow. Any favorites?
Maire Therese Carmack: A huge highlight was singing at the Met for the first time, in The Magic Flute. I was painted blue, which was really fun, and we were puppeteers in a wonderful, family-friendly production that the audience loved.
Another highlight was my first Wagner, at Opéra de Monte-Carlo, where I sang Waltraute in Die Walküre. Just being in that place is unbelievable. Monaco is unlike any city I’ve ever seen before. The hall has only 500 seats, and it’s stunning. Being in a Wagner show for the first time, with that sound and the sound from that cast, was life-changing.
Chris Cox: That sounds awesome. Looking back, what do you consider one of the top highlights of your Pittsburgh Opera residency?
Maire Therese Carmack: Because of COVID, the only time I actually got to sing in the Benedum Center was The Magic Flute. That was with a really wonderful cast, and I got to meet so many people in the industry that I would have long relationships with.
Chris Cox: Now you’re back in Pittsburgh – tell us a little bit about your role in Rigoletto.
Maire Therese Carmack: Yes, I’m singing Maddalena. She is the sister of Sparafucile, although in this production, we’re playing a little bit with the idea of maybe they’re not actually siblings; maybe they’re business partners, and they use that relationship to kind of get away with some things.
Maddalena is, I think, intended to be the mirror opposite in some ways of Gilda, who is Rigoletto’s daughter. Their relationship is fraught, thanks to Gilda falling in love with the Duke. Maddalena also falls in love with the Duke. Because we’re so different, Gilda witnessing me falling in love with him and having the same relationship with him is really important for her narrative arc.
But I’m a complex character. I try to save the Duke’s life, and I’m willing to kill someone else to do so. The audience gets to decide my motives for themselves.
Chris Cox: How much room is there for you to interpret those unexplained motives?
Maire Therese Carmack: There’s quite a bit of room. I’ve sung Maddalena a few times. This is the first time I’ve sung Maddalena where Sparafucile is a little violent towards her; here he seems to be the showrunner, whereas in my previous productions, that’s been my role. That’s really interesting, partly because I get to play a different kind of vulnerability. And there’s an implied history of abuse as a motive, but we don’t know how far back it goes. We don’t really know why he’s being so aggressive towards me. It’s quite intriguing; I think it’s going to be very successful.
Chris Cox: How are the rehearsals going?
Maire Therese Carmack: Really well! It’s a tremendous cast. We have Daniel O’Hearn, who is another former Pittsburgh Opera Resident Artist and Lindemann alum. He’s unbelievable. I don’t know how he does what he does. It’s impressive. And Susanne Burgess, who I know from The Met as well, is fabulous – a, very, very full-voiced Gilda, which is really exciting.
Chris Cox: Besides the obvious, what’s something that the audience will enjoy about Rigoletto?
Maire Therese Carmack: There is an interpretation that involves some film references that I don’t want to spoil. They’re kind of spooky, which is very appropriate for the season. And they intensify the action.
Chris Cox: This opera is almost 200 years old, and it’s still one of the top 10 most-performed operas around the world. What gives it such staying power?
Maire Therese Carmack: The relationship dynamics – the dynamics between romantic couples and between a parent and daughter. Those dynamics are enduring. But I think part of why pieces like Rigoletto maintain relevance is because we’re constantly using new lenses on them. The material itself is grounded in an attempt to tell some kind of truth, and that has staying power. But it will change here and there with the way that modern audiences interpret it, especially when it comes to things like Rigoletto’s physical disability.
There is also this element of complicity. Part of why Rigoletto gets cursed is because he’s complicit in the court when Monterone’s daughter is dishonored; Rigoletto mocks him. In our lives, there are moments where we can either speak out and stay true to ourselves, or be silent and complicit, and that kind of moral conflict is obviously very relevant today.
And, the music is full of bangers and bops, it’s like the best music Verdi ever wrote, really masterful writing. It will be very enjoyable musically, but it’s also very thought-provoking and moving. I’ve never sat through Rigoletto without crying, and I don’t think this will be an exception. It’s some of the best opera there is.
Chris Cox: After Rigoletto, what’s next for you?
Maire Therese Carmack: I fly the next day to Athens to sing my first Das Lied von der Erde with the Athens State Orchestra.
Chris Cox: We’re talking about Athens, Greece, correct? Not Ohio?
Maire Therese Carmack: Yes, Greece. Das Lied von der Erde is the most incredible piece I’ve ever worked on. I’m so excited.
Chris Cox: Well we couldn’t be more excited to see you on stage at the Benedum again. Thanks for chatting with me today.
Maire Therese Carmack: You’re very welcome.
TICKETS AND DETAILS
Pittsburgh Opera’s first production of its 2026-27 season, Verdi’s Rigoletto, is at the Benedum Center October 10th to 18th, 2026. Visit opera.culturaldistrict.org for more information and tickets.
Categories: Arts and Ideas, Feature Stories, Show Previews
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