A Dream Realized: Thandolwethu Mamba’s Triumphant Debut as Count Almaviva

On November 15, rising baritone and Duke Music Alum Thandolwethu Mamba stepped onto the Kennedy Center stage for a milestone moment—his house and role debut as Count Almaviva in Le Nozze di Figaro with Washington National Opera. It was a one-night-only performance that placed the spotlight squarely on the Cafritz Young Artists, transforming the evening into a celebration of possibility, passion, and artistic excellence.

For Mamba, the experience was nothing short of life-changing. “The moment felt like what it was: a dream come true!” he recalls. “It was both terrifying and exciting, but the feeling was that of elation and immense gratitude for the opportunity to live my dream and the chance to share this joyous work."

Stepping Into the Spotlight

As Count Almaviva, Mamba was the sixth character to enter in Act I. Waiting in the wings, listening to the house erupt with laughter and delight at his fellow castmates, the anticipation built. “I was itching to swing that door open and get on stage!” he says. Just before stepping out, he paused, took a breath, and told himself: “This is it.”

The performance held added weight because it was the only night that the Young Artists would perform all leading roles—an exhilarating but pressure-filled prospect. “Because this was a one-night-only opportunity, both the pressure to deliver and the meaning of the show were heightened, and it made for some great energy to harness,” Mamba explains.

Discovering a Complex Nobleman

Count Almaviva is a character of contradictions—charming yet manipulative, powerful yet insecure. Mamba relished the chance to bring out these contrasts. “I enjoyed finding the truth of each aspect… from his charm, to his anger, joy, confusion, and eventual repentance,” he says. “He really went through a lot in a single day!”

Working with the acclaimed director Peter Kazaras also shaped his interpretation. Kazaras encouraged Mamba to embrace nuance, complexity, and authenticity. The guidance, Mamba notes, “informed nearly everything I did… I just became a sponge.” 

Vocally, Mamba was proud of the growth he showcased on stage—especially in navigating the lower range of the role. Dramatically, he leaned into emotional truth while refusing to let intense scenes override artistry. “Comedy comes more naturally to me,” he admits, “and I was proud of how I handled the non-comical moments as well.”

The Preparation Behind the Performance

Preparing to sing Count Almaviva is no small feat. For Mamba, it began with countless hours at the piano and intense musical study. Having sung Figaro in graduate school two years earlier—and Don Giovanni just months ago—the world of Mozart recitative remained fresh. This familiarity eased the learning curve, but the psychological and emotional work required equal dedication.

Supporting him along the way were coaches and mentors at WNO, particularly Music Administrator Ken Weiss, whose insights helped Mamba fine-tune musical nuances. These resources are part of what makes the Cafritz Young Artist program so impactful. “It has been the engine behind what… has been the biggest growth in my artistry,” Mamba reflects. “It truly is a dream come true.” 

A Journey Rooted in Courage and Calling

Mamba’s path to the Kennedy Center wasn’t linear. While studying at Duke University, he initially expected to become a doctor. But conversations with professors and musical mentors urged him to consider where his true passion lay. Summer experiences—from shadowing a physician in Eswatini to attending a prestigious opera program in Italy—crystallized his calling. Opera, he realized, wasn’t just an interest. It was the path meant for him.

This personal journey fuels his artistic outlook today: malleable, imaginative, and fearless. His eclectic creative background continues to enrich his approach to storytelling and character exploration.

A Night of Magic—And a Wardrobe Malfunction

Live theater is full of surprises. For Mamba, one of the night’s most memorable moments was an unexpected costume mishap. Shortly after his Act II entrance, while searching under a bed for a supposed lover, his trousers ripped—completely. “I had to proceed for the rest of the act with ripped pants… apparently no one noticed!” he laughs. “That is definitely going to be the first thing I remember” about his debut. 

But despite the mishap, the audience remained fully engaged. Their enthusiasm became an invisible partner in the performance. “They were engaged from downbeat until the last chord… It’s every performer’s dream,” Mamba says. 

Looking Ahead

The momentum of his debut has carried forward. Mamba is preparing for The Little Prince in December and will soon debut as Marcello in Puccini’s La Bohème with the Alexandria Symphony Orchestra. A dream role for the future? Rigoletto—a part he hopes to embody no matter the opera house, though returning to The Metropolitan Opera or performing at Teatro alla Scala remain big aspirations.

Yet one dream stands out: bringing a fully staged opera production to his home country of Eswatini.

A Philosophy of Artistry

At the heart of Mamba’s artistry is a commitment to humanity. Opera, he believes, is a vessel for connection and transformation. “I understand that I am nothing but a vessel of healing, of joy, of love, of human connection,” he says. “At its core, this is what opera is about.”

His hope is that audiences leave his performance not only entertained but changed—reminded of compassion, forgiveness, and growth. As he notes, referencing a line displayed in the production:
“Forgiveness is not deserved by the one who fails to grant it to others.”
This message, he believes, is the emotional fulcrum of Figaro.

Advice to Future Singers

For young artists aspiring to similar heights, Mamba offers simple, resonant guidance:
“Find your ‘why’ and keep going!… Being prepared makes the risk-taking of jumping off a cliff appear less daunting… and that way you can inspire others to join you… and discover all the adventure that awaits you in the descent, together!”