In addition to American opera, Maddalena has sung a broad operatic repertoire which ranges from Monteverdi, Handel, Mozart, and Verdi to modern composers like Benjamin Britten and Michael Tippett.
[11] He later returned to the BLO several more times during his career, performing such roles as John Sorel in Gian Carlo Menotti's The Consul (1981),[12] Albert (1981) in Jules Massenet's Werther,[13] the Music Master in Richard Strauss' Ariadne auf Naxos (1982),[14] Somarone in Hector Berlioz's Béatrice et Bénédict (1993),[15] Don Alfonso in Così fan tutte (2004),[16] and Baron Duphol in La traviata (2006).
[18] In 1980 Maddalena created the title role in Tony Schemmer's pop opera Phaust at Harvard University's Sanders Theatre, conducted by Philip Morehead.
[20] He sang as a soloist in several other performances with Boston Cecilia, including in concerts of Handel's Athalia (1982, Abner)[21] and Johann Sebastian Bach's Mass in B minor (1983).
[22] In 1983 he performed the role of Abramane in the United States premiere of Jean-Philippe Rameau's Zoroastre with Boston Baroque (then known as Banchetto Musicale) at the Sanders Theatre, conducted by Martin Pearlman.
While Opera News dubbed the production as "an act of artistic vandalism", The New York Times was more positive in its review, with critic Peter G. Davis hailing the staging as "remarkably stimulating and provocative" and stating that "Maddalena was an appropriately loathsome Don, and he sang the part with a fine, firmly modulated baritone.
[4] In 1981 he sang the role of Idreno in the United States premiere of Joseph Haydn's Armida at the MMF in which Sellars staged the opera during the Vietnam War.
[43] In 1995 Maddalena sang in the premiere of Elliot Goldenthal's Fire Water Paper: A Vietnam Oratorio and also recorded that work with cellist Yo-Yo Ma.