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Short Bio
Born and raised in the Dallas/Fort Worth area, bass-baritone, Nate Mattingly is an emerging artist who is quickly gaining a reputation for his acute musicianship, powerful stage presence, and beautiful vocal production. While the bulk of his work is in opera, Nate is equally at home in a range of genres and styles, from early music, to music theater, chamber music, and concert work.
More about Nate...
Born and raised in the Dallas/Fort Worth area, bass-baritone, Nate Mattingly is an emerging artist who is quickly gaining a reputation for his acute musicianship, powerful stage presence, and beautiful vocal production. While the bulk of his work is in opera, Nate is equally at home in a range of genres and styles, from early music, to music theater, chamber music, and concert work.
In particular with his background in composition, Nate is an outspoken advocate and performer of contemporary music and already has three world premieres to his name including; A Little More Perfect by Evan Mack ('15), creating the role of Judge Dodsworth in Matthew Peterson's Voir Dire at Fort Worth Opera ('17), and the posthumous premiere of Roque Cordero's Cantata para la Paz with the TCU Orchestra ('17). Along with performing in more canonical works such as Friedrich Bhear in Little Women at Opera in the Heights ('17) and French Soldier #1 in Silent Night at Fort Worth Opera ('14), Nate has also done extensive workshopping of unproduced works as a Festival Young Artist in the Fort Worth Opera Frontiers new music showcase. His workshopping experience includes; Man in Nothing in the Nothingness (Composer Daniel Zajicek and Librettist John Grimmett), Father in A Taste of Damnation (Avner Finberg/Edward Einhorn), Detective Smith in A Capacity for Evil (Evan Snyder), Phil in The Golden Gate (Conrad Cummings/Vikram Seth), David in A Song to Susan Smith (Zach Redler/Mark Campbell), and Dinzie in Sharon's Grave (Richard Wargo/John B. Keanes).
In addition to contemporary music, Nate has also tackled much of the standard bass-baritone repertory at either regional-level companies or educational institutions. His regional work includes: The Pirate King in Pirates of Penzance at Performance Santa Fe; Don Bartolo in Le nozze di Figaro and Colline in La Bohème at Opera on the James; Horatio in Hamlet and Messenger in La Traviata at Fort Worth Opera; and Timur (cover) in Turandot, Claggart (study cover) in Billy Budd, and Pistola (cover) in Falstaff at Des Moines Metro Opera. Some of his educational work includes: Figaro in Le nozze di Figaro and Marchese in La Traviata at Boston Conservatory; Javert in Les Misérables, Basilio in Il barbiere di Siviglia, Snowboy in Westside Story, and Rev. Olin Blitch in Susannah at Seagle Music Colony; Lindorf and Dr. Miracle in Les contes d'Hoffman and Les Surintendant in Cendrillon at the University of North Texas; and Simone in Gianni Schicchi at Texas Christian University and the University of North Texas.
Nate earned his BA in Music and MM in Vocal Performance at the University of North Texas where he studied with Dr. Stephen Morscheck. He then spent a year at the Boston Conservatory as a Graduate Professional Diploma student studying with Rebecca Folsom, and then a year in the Artist Diploma program at Texas Christian University. Nate currently lives in Montclair, NJ where he studies with Jeanne-Michele Charbonnet.