Mezzo soprano Madeleine Shaw is a former member of the Young Singer's Programme at English National Opera and she continues to enjoy great success on both the opera and concert stages. It was in the role of the Beggar Woman in Deborah Warner’s acclaimed production of Death in Venice that Madeleine made her debut at English National Opera, Madeleine went on to reprise this role at La Monnaie, Brussels; Dutch National Opera and La Scala, Milan.
Madeleine’s future engagements include her debut at the Komische Oper, Berlin as Osipovna; Bubliki and Social Commentator in The Nose directed by Barrie Kosky, she will also make her debut at the Opéra national de Paris as Aufseherin in Robert Carsen’s production of Elektra conducted by Semyon Bychkov; she will return to ENO as Rita in a new production of The Handmaid’s Tale and as Fricka in a new production of Das Rheingold directed by Richard Jones and in future seasons will return to both Welsh National Opera and to Glyndebourne.
Her operatic engagements include Roßweise Die Walküre and The Owl/Forrester’s Wife The Cunning Little Vixen conducted by the late Sir Charles Mackerras for the Royal Opera House, Covent Garden; Maddalena Rigoletto for Glyndebourne; Wellgunde Das Rheingold/Götterdämmerung and Rossweiße Die Walküre for Opera North; Annina Der Rosenkavalier and the title role in the World Première of Elena Langer’s Rhondda Rips It Up! for Welsh National Opera. She made her debut as Fricka Das Rheingold for the Longborough Festival in 2019, and will return to the role in Die Walküre in Summer 2021. For ENO Madeleine has appeared as Magdalena in Richard Jones new production of Die Meistersinger von Nürnberg; Annina Der Rosenkavalier; Zweite Dame Die Zauberflöte; Mercedes Carmen and Maddalena Rigoletto.
Madeleine has appeared at the BBC Proms as “She Ancient” A Midsummer Marriage with the BBC Symphony Orchestra and Sir Andrew Davis and as a Blumenmädchen Parsifal for the Hallé and Sir Mark Elder; she made her debut at the Edinburgh International Festival as Siegrune Die Walküre with the RSNO and Sir Andrew Davis; Wellgunde Das Rheingold with the Hallé and Sir Mark Elder and she appeared as Emilia Otello with the BBC Philharmonic Orchestra and Gianandrea Noseda.
On the concert platform, Madeleine’s recent engagements include: Mahler’s Rückert Lieder with the Orchestra of Welsh National Opera; Messiah with the BBC National Orchestra of Wales; Glagolitic Mass with the London Philharmonic Orchestra; Wagner’s Wesendonck Lieder with the RPO and Mahler’s 8th Symphony with the Orchestra of Opera North.
In 2018, Madeleine made her US debut as The Angel The Dream of Gerontius with the Boston Philharmonic Orchestra and Benjamin Zander, a piece she has performed with the Royal Philharmonic Orchestra and the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, for whom she has also performed Berlioz’s La mort de Cléopatre.
Madeleine has had long relationship with the Hallé Orchestra and recent performances include the Glagolitic Mass; Messiah; Child of our Time; Beethoven’s 9th Symphony and the Verdi Requiem.
Further concert engagements include appearances with the London Symphony Orchestra; Royal Scottish National Opera; BBC National Orchestra of Wales; London Philharmonic Orchestra; Northern Sinfonia and the Bournemouth Symphony Orchestra. Among the conductors Madeleine has worked with are: Sir Simon Rattle; Sir Antonio Pappano; John Elliot Gardiner; Edward Gardner; Thomas Zehetmair; Richard Farnes and Thierry Fischer.
Madeleine has enjoyed much success with the baroque repertoire, and she has recorded Il pastor fido with La Nuova Musica and David Bates for Harmonia Mundi; further engagements include: Bradamante Alcina with La Nuova Musica and David Bates; Juno La Calisto and Medea Giasone with the Early Opera Company and Christian Curnyn; Handel’s Samson with the Irish Baroque Orchestra; Handel’s Messiah with the Sandefjord Kammerchor on tour throughout Norway and with the BBC National Orchestra of Wales and the St Matthew Passion with the RTE National Orchestra.
Biography not for publication, for an up to date version please contact Oliver Clarke.
"Madeleine Shaw was a powerfully angry sorceress!"
The Art’s Desk
"Madeleine Shaw as the Sorceress avoided silly voices and mannerisms, she simply gave us fine drama – large-scale, to fit the conventions of this performance, but finely calibrated and forming a strong backbone to the work."
"In the music of the Sorceress: a suitably acidulous Madeleine Shaw."
"Shaw produced singing of the highest quality, from the pinpoint accuracy of her intonation to the power & glory of her