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), Albert (1981) in Jules Massenet's "Werther", the Music Master in Richard Strauss' "Ariadne auf Naxos" (1982), Somarone in Hector Berlioz's "Béatrice et Bénédict" (1993), Don Alfonso in "Così fan tutte" (2004), and Baron Duphol in "La traviata" (2006). In 1979 he starred in a production of George Frideric Handel's "Atalanta" at the American Repertory Theater under conductor Herbert von Karajan. In 1980 Maddalena created the title role in Tony Schemmer's pop opera "Phaust" at Harvard University's Sanders Theater under the baton of Philip Morehead. That same year he portrayed the role of Death in Gustav Holst's "Savitri" with Boston Cecilia. He sang as a soloist in several other performances with Boston Cecilia, including in concerts of Handel's "Athalia" (1982, Abner) and Johann Sebastian Bach's "Mass in B minor" (1983). 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 Theater under conductor Martin Pearlman. He performed with the ensemble again in December 1984 as a soloist in Handel's "Messiah" for performances in both Boston and at New York City's Carnegie Hall. In September 1980 Maddalena portrayed the title role in a controversial production of Mozart's "Don Giovanni" at the Palace Theatre in Manchester, New Hampshire with the New Hampshire Symphony Orchestra for the Monadnock Music Festival (MMF). The production used a modernized staging which was conceived by director Peter Sellars, just 23 years old at the time. It was the first professional opera directed by Sellars. 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."