Maire ThereseCarmack

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  • Mezzo-Soprano
©Ling Wang
©Ling Wang

About Maire Therese

American mezzo-soprano Maire Therese Carmack, Third Prize winner at the Operalia World Opera Competition, is acclaimed for her “deep mezzo and vibrant metallic timbre” (Opera News). A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, her 2026/27 season includes returns to Semperoper Dresden as La Baronessa di Champigny in Il cappello di paglia di Firenze, Pittsburgh Opera as Maddalena in Rigoletto, and the Metropolitan Opera as Rosette in Manon, alongside Mahler’s Das Lied von der Erde with the Athens State Orchestra.

Recent highlights include her acclaimed Houston Grand Opera debut in Breaking the Waves, alongside debuts with the Metropolitan Opera, San Francisco Opera, Deutsche Oper Berlin, Lyric Opera of Chicago and Santa Fe Opera. Her repertoire includes Carmen, Eboli (Don Carlo), Olga (Eugene Onegin), Fenena (Nabucco), Maddalena (Rigoletto) and Dorabella (Così fan tutte). A committed interpreter of contemporary opera, she has premiered works including The Sun Palace, M. Butterfly 蝴蝶君 and Bärin*. Concert highlights include Berlioz’s La damnation de Faust, Beethoven’s Ninth Symphony and Mahler’s Resurrection Symphony.

Maire Therese is the winner of the Björn Eklund Scholarship from The Opera Foundation, first prize winner of the Gerda Lissner Lieder and Song Competition, winner of Opera Index's Felix Popper Award, two-time grant recipient from The Olga Forrai Foundation for Dramatic Voices, and second prize winner of the Gerda Lissner International Vocal Competition. Maire Therese holds a Master of Music in Voice Performance and Literature (with honors) from the Eastman School of Music, as well as Bachelor of Arts degrees in both Philosophy and Visual and Performing Arts from the University of Colorado, Colorado Springs.

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Contact

Katy Crompton

Katy Crompton

Associate Artist Manager
Ivo Ivanov

Ivo Ivanov

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

Season Highlights

Aug 2026 - Sep 2026
Dresden Semperoper
Rota: Il cappello di paglia di Firenze (La Baronessa di Champigny) Daniele Squeo (conductor)
Sep 2026 - Oct 2026
Pittsburgh Opera
Verdi: Rigoletto (Maddalena) Antony Walker (conductor)
Oct 2026
Athens State Orchestra
Mahler: Das Lied (Mezzo-soprano) Duncan Ward (conductor)
Mar 2027 - Apr 2027
Metropolitan Opera, New York
Massenet: Manon (Rosette) Yves Abel (conductor)

Selected Repertoire

Berlioz

Les Troyens (Didon)   •   La Damnation de Faust (Marguerite)

Bizet

Carmen (title role / Mercedes)

Borodin

Prince Igor (Konchakovna)

Britten

The Rape of Lucretia (title role)

Gluck

Orfeo ed Euridice (Orfeo)

Handel

Semele (Juno)

Massenet

Don Quichotte (Dulcinée)   •   Werther (Charlotte)

Purcell

Dido and Aeneas (Dido)

Rimsky-Korsakov

The Tsar's Bride (Lyubasha)

Tchaikovsky

Eugene Onegin (Olga)   •   The Queen of Spades (Polina)

Verdi

Don Carlos (Princess Eboli)   •   Rigoletto (Maddalena)   •   Falstaff (Meg Page)   •   La Forza del Destino (Preziosilla)   •   Nabucco (Fenena)

Wagner

Tannhäuser (Venus)   •   Tristan und Isolde (Brangäne)

News

Press

  • Mazzoli Breaking the Waves (Dodo McNeill)

    Houston Grand Opera, USA
    Apr 2025 - May 2025
    • Her voice has a pleasingly rich texture and the easy legato of rolling hills – an ease that somehow persisted even as she spat venom in her fiery last scene.

    • As Bess’ friend Dodo, mezzo-soprano Maire Therese Carmack was a fount of rich, plush tones that exuded Dodo’ affection

    • Mezzo-soprano Maire Therese Carmack was lovely as the steadfast and empathetic Dodo, especially in her “golden heart” aria from the wedding reception.

  • Verdi Don Carlos (Princess Eboli)

    Sanders Theatre, USA
    Jan 2025
    • The audience favorite was clearly mezzo-soprano Maire Therese Carmack in the impossible role of Princess Eboli... Impossible because the role's two big arias are so completely different that one singer can rarely pull them both off successfully. But Carmack sang the Veil Song, the deceptively light coloratura ballad, and the searing, self-castigating aria "O don fatale" (Oh, fatal gift!) with equal control, power and affect.