Cindy Sadler, Mezzo Soprano
- The Old Baroness, Vanessa
Heralded for her rich, satiny voice as much as her impeccable characterizations, mezzo-soprano Cindy Sadler is a force to be reckoned with on the operatic scene. Recently she has been noted for her “riotous” and “saucy” Marcellina in The Marriage of Figaro at Des Moines Metro Opera, her Mrs. McLean in Susannah with the same company, as well as for her “scene-stealing” turn as the Pigeon and the Snail in the American premiere of Jonathan Dove’s The Adventures of Pinocchio with Minnesota Opera. Her 2010-2011 season saw return engagements with Lyric Opera of Chicago to cover Stephanie Blythe as Ulrica in Un Ballo in Maschera and Katisha in The Mikado; and to San Antonio Opera as La Zia Principessa in Suor Angelica as well asapearances as Katisha with Syracuse Opera, her role debut as the Marquise in La fille du régiment, and Baba the Turk in The Rake’s Progress with The Princeton Festival. Engagements for 2011-2012 include Gertrude in Roméo et Juliette with both San Antonio Opera and Florida Grand Opera, and Marcellina in Le nozze di Figaro with Kentucky Opera. Other recent highlights include Mamma Lucia in Cavalleria Rusticana with San Antonio Opera opposite Andrea Bocelli as Turiddu and Veronica Villaroel as Santuzza, Mère Jeanne in Les dialogues des Carmélites, the Verdi Requiem with the Brazos Valley Symphony, and her Indianapolis Opera debut as a “strongly intoned” Erda in Das Rheingold.
Ms. Sadler’s operatic repertoire embraces a wide range of character studies, including Baba the Turk in The Rake’s Progress, for which Opera News cheered her as “an absolute scream”; Dame Quickly in Falstaff, Mrs. Patrick de Rocher in Dead Man Walking, Amneris in Aida, Augusta Tabor in The Ballad of Baby Doe, Erda in Das Rheingold and Siegfried, Tituba in The Crucible and Zulma in Rossini’s L’italiana in Algeri. She has performed with Lyric Opera of Chicago, Opera Pacific, Opera Boston, Arizona Opera, the Hollywood Bowl, Austin Lyric Opera, Fort Worth Opera, Austin Symphony, Central City Opera, and Chamber Opera Chicago.
Ms. Sadler’s professional debut occurred in concert performances at the Lyric Opera of Chicago. She went on to win international acclaim for her performances in Arizona Opera’s Ring Cycles. As the only cast member to sing in all four operas, Opera News proclaimed that she, “knocked ‘em dead” with a performance that the Deseret News marked as having put her “opulent mezzo” to excellent use.