Mezzo-Soprano Reveka Mavrovitis has performed on the operatic stage, in concert, and in musical theater both here in the United States and abroad for more than twenty-five years.
For fifteen seasons Ms. Mavrovitis performed as a Principal Artist at the Metropolitan Opera, making her debut in Kurt Weill’s Mahagonny ( One of Jenny’s Girls), James Levine conducting, Teresa Stratas as Jenny. Other memorable performances at the MET include Fedora (Dimitri) Roberto Abbado conducting with Mirella Freni in the title role, La Traviata (Flora), Franco Zeffirelli Production, Manon (Rosette) with Renee Fleming, Julius Rudel Conducting, and Adriana Lecouvreur (Mme. Dangeville), Marco Armiliato conducting. ( Earlier in her career, Ms. Mavrovitis appeared as Cherubino in, Le Nozze di Figaro at the Sarasota Opera, where Maestro Armiliato made his US conducting debut.)
Before singing on the main stage at the New York City Opera in productions of Madama Butterfly (Suzuki) and in the Lukas Foss opera, Grifflekin (Statue), Ms. Mavrovitis sang the title role in Carmen for the company’s National Tour, for which she was awarded the Martin Segal Lincoln Center Debut Artist Award. During these first years in New York City, Ms. Mavrovitis made her solo debut at Alice Tully Hall singing Vivaldi’s Stabat Mater with The Little Orchestra Society, Dino Anagnost conducting, and she made her Carnegie Hall debut singing the alto solo for the Mozart Requiem; she sang in the Brahms Liebeslieder Waltzes for the Feld Ballet Company at the Joyce Theater. Ms. Mavrovitis would appear again at Carnegie Hall singing the title role in the Mikis Theodorakis Opera, Electra ( in greek) and in Pergolesi’s Stabat Mater.
Before moving to New York City, Ms. Mavrovitis attended the young artist program at the San Francisco Opera (Merola Program) for two consecutive Summers, performing in Madama Butterfly (Suzuki) and singing the title role in Carmen. During the time between the programs, she toured with the Western Opera Theater Production of Madama Butterfly (Suzuki) and sang the same role when the SF Opera Center toured Japan. The members of the company studied Japanese traditions, movement, and coached with conductor Ubaldo Gardini who would become a prominent musical and linguistic influence in Ms. Mavrovitis’ studies. She was thrilled to return to Japan with the SFOC once again to sing the title role in Carmen.
As part of the SFOC, Ms. Mavrovitis sang in performances of Giustino (Amanzio) with Nicholas McGegan and the Philharmonia Baroque Orchestra with whom she would later sing performances of the Mozart Requiem. She was presented in recital by the Schwabacher Recital Series in San Francisco, the Kurt Herbert Adler Series in Marin, and at Villa Montalvo in Saratoga, California.
Highlights at the San Francisco Opera include productions of Boris Godunov (Fyodor) and L’Amour de Trois Oranges (Linette), with the company of Opera de Lyons, Kent Nagano, conductor.
In Musical Theater, Ms. Mavrovitis sang at The MUNY in St. Louis in productions of, “The King and I” (Lady Thiang) three separate Seasons over a 12 year period. After the performances at the MUNY during her first season engaged there, The MUNY company toured to Atlanta and Detroit, where Shirly Jones sang the role of Anna. (thrilling!)
No stranger to contemporary music, Ms. Mavrovitis sang a concert of Milhaud songs with the San Francisco Contemporary Music Players and sang Crumb’s Night of the Four Moons with Long Beach Opera. While engaged to sing the Madrigal Singer in Puccini’s Manon Lescaut at the Spoleto Festival, Charleston, she also performed, “Three Songs to the Poems by Carl Sandburg”, music by Ruth Crawford Seeger.
Ms. Mavrovitis studied Music/Vocal Performance (B.A. and M.M.) at the University of California, Santa Barbara. During her senior year of studies, Elizabeth Mannion, the great American mezzo-soprano joined the faculty. Ms. Mavrovitis worked with Mrs. Mannion’s assistant, Bill White for a year until Mrs. Mannion accepted her into her studio for three years of graduate school. Mrs. Mannion would continue to teach Ms. Mavrovitis as she entered her professional career. Martial Singher would be an important influence on Operatic and Song Literature. Ellen Porter, who studied with Souzay and the Guild Hall would give invaluable stylistic guidance for French Melodies that Ms. Mavrovitis would hear nowhere else. It was at UCSB that Ms. Mavrovitis began to work with Dr. Fiora Contino, a composition student of Nadia Boulanger. Maestra Contino engaged Ms. Mavrovitis to sing with her a number of times at Illinois Opera and would have a prominent role in Ms. Mavrovitis repertory studies, from Bach to Kern.