About Madeline Cain
Madeline has been widely praised as "a powerful and mature soprano." (DC Metro Theater Arts) A young dramatic singer entering the Wagner Fach, she also shines offering varied repertoire Mozart through Puccini; her work with art song and contemporary music is also in high demand. Madeline's flexible and rich voice allows her to explore many disciplines, as far-ranging as jazz, musical theater, and popular music.
In January 2019 Madeline was seen and heard in Barcelona, singing as a finalist in the Tenor Viñas Competition hosted by the Gran Teatre del Liceu and competing for the Wagner Prize. As a finalist in the Grandi Voci Opera Competition, hosted by the Oper im Berg Festival in Salzburg, Austria in September 2018, Madeline was awarded the Verdi Prize and the Grace Bumbry Stipend Prize. She also competed in September 2018 as a quarter finalist in the International Vocal Competition 's-Hertogenbosch in 's-Hertogenbosch, Netherlands, and was selected to compete for the Wagner Prize. The Leipzig Richard Wagner Stiftung granted Madeline a stipend to attend the Bayreuth Festspiel this past summer season, as a finalist prize in their Wagner Stiftung Competition. Madeline has received significant recognition in American competitions as well; among other first place honors, she was the 2016 Rochester Classical Idol 1st Prize Winner, and was also voted Audience Favorite. She has received 1st Place prizes from the Rochester Lyric Opera's LaDue competition and the Civic Morning Musicals competition in Syracuse, NY, and was a finalist in the Partners for the Arts vocal competition in Alexandria, VA.
Next season, Madeline joins the Sinfonieorchester Bergisch Gladbach for a 3rd reprisal of the role of Rosalinde in Die Fledermaus. In December 2019, she was featured in a new role debut as Gretel in Hänsel und Gretel with Sinfonia Leipzig. The esteemed Alinde Quartett asked Madeline to join them last November for an all-Schubert program in Cologne. In February 2019 she also performed the role of Rosalinde in collaboration with the Hochschule für Musik "Franz Liszt" in Weimar. Summer 2018 brought Madeline's role debut as Donna Anna in Don Giovanni with the SommerOrchester Leipzig. In 2016, she joined Midsummer Night Opera in Rochester, NY as Fiordiligi in Mozart's Così fan tutte. Her European debut came in 2015 in the title role of Puccini's Suor Angelica, at the State Opera Stara Zagora and the State Opera Plovdiv, Bulgaria, and she reprised the role in 2016 both with the Prague Summer Nights Festival in Prague, Czech Republic, and with Capitol Opera Albany. Additional operatic roles include: Lady Billows/Albert Herring, Donna Elvira/Don Giovanni, and Ciesca/Gianni Schicchi.
Noted for her skill with contemporary music, Madeline is a founding member of the Contemporary Insights Ensemble based in Leipzig; she also performed with the ZfGM ensemble in Leipzig in their debut festival 2018. She was featured regularly as a soloist with the Ossia New Music ensemble in Rochester, NY, collaborating with composer Aristea Mellos as well as performing more widely recognized favorites, and has performed with the Marsyas Ensemble at Symphony Space in New York City. Madeline also regularly gives concerts with Leipziger Symphonieorchester, Sinfonia Leipzig, and other ensembles throughout Germany.
A native of the central coast of California, Madeline is a graduate of the Hochschule für Musik und Theater "Felix Mendelssohn-Bartholdy" in Leipzig, Germany where she recently received her Meisterklasse degree, from the Maryland Opera Studio where she earned her Master's in Music, and a graduate of the Eastman School of Music with a Bachelor of Music in Vocal Performance. She has studied under vocal pedagogues Jeanette Favaro-Reuter, Elvira Dressen, Karen Holvik, Katherine Ciesinski, Linda Mabbs, and Jennifer Casey Cabot, and maintains her own vocal studio in Leipzig.
Recent Praise for Madeline Cain
"... die kalifornische Sopranistin Madeline Cain, die die Darbietungen mit ihrer kräftigen und ausdrucksstarken Stimme beeindruckend wie emotional begleitete."
(trans.) "... the Californian soprano Madeline Cain, who accompanied the performance with her powerful and expressive voice, impressively as well as emotionally."
“Mit großem Ernst [...] und in sinnendem Piano begann die US-Amerikanische Sopranistin Madeline Cain die Arie der Leonore 'Tacea la notte placida' aus Verdis 'Il Trovatore' und gestaltete dann mit ihrer vollblühenden Stimme große leidenschaftliche Aufschwünge [...].”
(trans.) “With great seriousness [...] and with a pensive piano began the American soprano Madeline Cain Leonora’s aria 'Tacea la notte placida' from Verdi’s 'Il Trovatore'; she then shaped large and passionate surges with her full-blooming voice [...].”
"Wenn Madeline Cain die 'Julischka aus Budapest', den berühmten Marika-Rökk-Ohrwurm aus der 30er-Jahre-Operette 'Die Maske in Blau' singt, muss man ihr abnehmen, dass 'ihr Herz von Paprika' ist. Die US-Amerikanerin bringt das beliebte Lied von Fred Raymond mit solcher Leidenschaft, dass das Publikum nur so dahinschmiltzt. [...] Schon mit 'Klänge der Heimat', dem Auftrittslied der Rosalinde aus Johann Strauss jr. 'Fledermaus,' hatte sie ihr Publikum gefangen."
(trans.) "When Madeline Cain sings 'Julischka from Budapest,' the famous Marika-Rökk-earworm from the 1930's operetta 'Die Maske in Blau', you have to take away from it that her 'heart is full of paprika.' The American soprano brings this beloved song from Fred Raymond with such passion, that the audience melts to her. [...] With 'Klänge der Heimat,' the aria from Rosalinde from Johann Strauss Jr.'s 'Fledermaus' she had already captivated her audience."
"So begeisterte sie auch im Volkshaus Sossenheim, insbesondere auch mit dem Lied „Die Juliska aus Budapest“. [...] Es war viel Begeisterung zu spüren und zu hören."
(trans.) "She also delighted in the Sossenheim Community Center, in particular with the song 'Julischka from Budapest.' [...] Lots of excitement was there to be felt and heard."