Mark Delavan, a singer of “incisive vocal power and fierce theatrical acuity,” is sought after throughout the United States and Europe for the most demanding roles in his operatic repertoire. He regularly appears in the title roles of Der fliegende Holländer, Falstaff, and Rigoletto, and as Iago in Otello, Scarpia in Tosca, Jochanaan in Salome, and Amonasro in Aida. In addition, as a strong character actor on stages throughout the country, he has proved himself a crossover artist of immense skill, starring as Phil Arkin in Milk and Honey with York Theatre Company, to critical acclaim.
This season, Delavan returns to Maryland Lyric Opera for the title role in Falstaff and as Iago in Otello, as well as the Dallas Opera as Father in Hansel and Gretel. In concert, Delavan will sing the role of Enrico in Lucia di Lammermoor with New York City Opera, and Abraham/Moses/Jeremiah in Weill’s The Road of Promise with Orchestra Miami. Mark will also return to Dallas Symphony in 2024 as Wotan in their concert performances of Der Ring des Nibelungen under the baton of Maestro Fabio Luisi. [read more...]
"Mark Delavan [...] was in fine voice and moved commandingly" – Opera News
Der Fliegende Holländer – "Mark Delavan, in the title role, was in fine voice and moved commandingly, neither scary (except in his hair-raising final encounter with Senta) nor world-weary, but with an undercurrent of tragedy."
"...the evening’s prize portrayal...” – New York Times
Francesca da Rimini – “The baritone Mark Delavan’s Gianciotto — barbarous, yet seemingly genuine in his affection for Francesca — was the evening’s prize portrayal.”
"...the company’s reigning baritone..." – Newsday
Sweeney Todd – “As Sweeney Todd, Mark Delavan, the company’s reigning baritone, is just about the best argument one could make for letting opera singers take on musicals. His commitment to the role is ferocious, and his robust if somewhat dry voice gives as much lyric potency to Todd as one could wish.”
"...Delavan’s dark-hued timbre projected greater warmth..." – South Florida Classical Review
Salome – “Mark Delavan’s baritone was commanding. As he emerged from the darkness, he initially appeared blinded by the light but his vivid declamation quickly conveyed the prophet’s fire and brimstone as he denounced Salome and the depravity of the court. In the more gentle passages, Delavan’s dark-hued timbre projected greater warmth and he dominated the stage with his every move and utterance.”
"...superbly open-throated phrasing..." – San Francisco Chronicle
Tosca – “The ferocity of Racette’s performance was well matched by that of baritone Mark Delavan as Scarpia, in an interpretation that went well beyond cartoon impressions of lechery to hint at the dark obsessiveness informing the character’s behavior. In his extended soliloquy at the start of Act 2, Delavan let loose with superbly open-throated phrasing, as though Scarpia’s very compulsions were forcing their way into the open.”
"...half-divine, half-human voice..." – Wall Street Journal
Die Walküre – “The range of emotions Mr. Delavan can communicate with his half-divine, half-human voice appears limitless.”
"He offers dark, bold sound with a suave exterior.” – Hyde Park Herald
Die Kathrin – “Baritone Mark Delavan plays the villain Malignac, who has bamboozled Kathrin to travel with him to Marseilles in what seems like a sex trafficking caper. He offers dark, bold sound with a suave exterior.”