MARK Lundberg was a singer whose vocal versatility marked him out as something very special. His career was built mainly round the tenor repertory – he sang with Scottish Opera (SO) on one of his rare appearances in the UK – but started as a bass.
He sang roles on stage that ranged from the heavy bass, through the baritonal to the tenor.
It was as a tenor he came to SO in 1997 to sing the male lead in Samson et Dalila. From the outset, Lundberg created an impact both vocally and personally: he cut a commanding figure on stage – he was 6ft 6in tall and of robust build with a dark black beard and swept back hair. He was physically ideal casting as Samson and his powerful voice delivered a memorable interpretation of the terrific score. Indeed, he had a passion in his voice that matched his commanding appearance.
Mark Lundberg was the son of an Episcopalian priest and it was in his father's choir that he began his singing. He was to remain a devoted churchman for the rest of his life. While studying at Indiana University, he continued his singing – mostly bass roles – in amateur choirs and productions. He competed in the local auditions held by the Metropolitan Opera House, New York, in all three male categories: bass, baritone and tenor, and was soon offered various minor roles with American companies.
Lundberg decided to concentrate on the tenor roles and made early appearances in the 1980s in such heroic parts as Samson, Bacchus in Ariadne auf Naxos, Canio (Pagliacci) and the Drum Major in Alban Berg's Wozzeck. Lundberg had also started learning the Wagner repertory and, in 1993, made a significant appearance as Siegfried in Gotterdammerung in Dortmund. The prudent way he had managed his career suggested to many managers that Lundberg could mature into a major "heldentenor" – literally a "heroic tenor" who specialises in the demanding German repertory.
SO's new 1997 production of Saint-Saens's Samson et Dalila was eagerly awaited as it brought to the title roles two rising American stars, Lundberg and the soprano Carolyn Sebron. The production was designed and directed by Antony MacDonald and, appropriately conducted by the Frenchman Frederic Chaslin. The rehearsals in Glasgow were intense and the two lead singers formed a keen understanding of their taxing roles. They also became firm friends. Sebron spoke at the time of the excellent working relationship between the two, "Mark said to me on the first day, 'We're going to get real close, real soon, so we should probably get to know each other.' He invited me over for dinner with his wife, and that was it."
The production was well received by both public and critics, as the Guardian wrote after the first night: "This production is ravishing to look at. Mark Lundberg is an imposing Samson." The Independent commented: "Mark Lundberg is an immense tenor with one of those smoky, husky voices, baritonal in everything but range, fathomless in expressive depth."
Lundberg's other British appearance, with Opera North, was as Tristan in a semi-staged concert performance of Tristan und Isolde in Leeds Town Hall in 2001. The critics were impressed with the musicality of his voice and the control he demonstrated throughout this most demanding of roles. The Scotsman critic hailed him "as good a Heldentenor as we have today, perfect with colour and immaculate diction." Lundberg was soon being booked to sing the heavy Wagner roles and in 2006, courageously stepped in to sing the last act of Tristan in Brussels when the booked tenor fell ill during the performance. Lundberg, with little rehearsal and even less knowledge of the complexities of the production, was given a huge ovation at the end.
His career was burgeoning with several invitations from international houses – notably the Drum Major at San Francisco in 1999 and Bacchus at the Metropolitan New York last year. Lundberg had also sung his first Otello in Bilbao and reports of his reading of this most exacting role promised much for future performances. He was scheduled to appear as Samson in Dublin this week.
Lundberg is remembered as a delightful colleague both in rehearsal and in performance. "Mark loved his family," one recalled, "his friends and a good joke. He was a talented cook, fisherman and devoted bridge player."
Lundberg had recently been suffering from a bronchial infection although the cause of death is not known. He is survived by his wife and their four children.
The full article contains 767 words and appears in The Scotsman newspaper.
