Meghan Lindsay


Meghan Lindsay


Canadian Citizenship

Canadian soprano Meghan Lindsay has been praised by Opera News for a voice that “shines with greater vocal strength and control than ever before and dazzles with her coloratura passages.” During the 2019-2020 season she will be featured in a variety of repertoire highlighted by Handel’s Dixit Dominus with the Theatre of Early Music at the Music and Beyond Festival, Saffi in Strauss’ The Gypsy Baron for Toronto Operetta Theatre, Donna Anna in Don Giovanni and Mary Magdalene in Handel’s La resurezzione with Opera Atelier.

In the 2018/19 season, she appeared as Ilia in Idomeneo (Opera Atelier), Paride in Paride ed Elena (Odyssey Opera), Sandrina in La Finta Giardiniera (Opera Nova Scotia), Arethuze/Hunter and Galatée in a double bill of Actéon and Pygmalion (Opera Atelier/Royal Opera Versailles/Harris Theatre Chicago). An artist eager to stretch the bounds live theatre, Ms Lindsay created and performed in an installation for the Contact Festival/Division Gallery with visual artist Alex McLeod. She is a frequent performer with Canada’s Opera Atelier, having performed the title role in Alcina, Amour in Gluck’s Orphée et Eurydice, Giunia in the Canadian premiere of Mozart’s Lucio Silla, Belinda in Dido and Aeneas, and Minerva in Il ritorno d’ulisse in patria. An avid interpreter of French Baroque repertoire, The Royal Opera House at the Palace of Versailles was the scene for her performances of Sidonie/ Nymphe des Eaux in Lully’s Armide, Vénus in Persée, and Nérine in Charpentier’s Medée.

Meghan Lindsay made her recording debut with the Grammy-nominated early music company, Ars Lyrica, in a recording and ‘modern world’ premiere of Scarlatti’s La Sposa dei Cantici. Equally at home in Romantic repertoire, she has performed the title role of Luisa Miller with Opera Nova Scotia, Mimi in La bohème with The Northern Lights Festival, and Agathe in Der Freischütz. She made her U.S. operatic debut with Opera Columbus as Donna Anna in Don Giovanni and performed the Sacerdotessa in Aida and Sidonie/Nymphe des Eaux in Lully’s Armide with the Glimmerglass Festival.

As a young artist with Opera Studio Nederland, she made her European debut as Euridice in Pierre Audi’s production of Monteverdi’s L’Orfeo and her Concertgebouw debut singing Donna Anna in Don GIovanni. She performed at Carnegie Hall as a member of The Song Continues workshop with the Weil Institute and has presented recitals internationally including a concert tour of China, Barrie’s Colours of Music, the Creemore Music Festival, the Houston Early Music Festival, and Holland’s Uitmarkt. Awards, prizes, and competitions include the Brian Law Competition, the Queen Elisabeth Competition and the Klaudia Taev Competition. She is an alumnus of the Glimmerglass Festival Young Artist Program; The Toronto Summer Music Festival; the International Vocal Arts Institute; the Daniel Ferro Vocal Program; Opera Studio Nederland; and of The Royal Conservatory of Music’s Glenn Gould School, where she completed her Bachelor of Music and participated in the Artist Diploma Program. In conjunction with her performance career, Meghan is an advocate for arts research and diverse creative practice. She holds a Master’s Degree in Nonprofit Leadership from Carleton University, has both moderated and curated academic panels on Canadian arts practice, and is an OGS recipient for her research on classical music organizations in North America. Ms Lindsay is a proud recipient of the Ottawa Arts Council Career Award for artistic achievement.

“The three sopranos ­– Meghan Lindsay as Donna Anna, Carla Huhtanen as Donna Elvira and Mireille Asselin as Zerlina – equal the best Mozart interpreters anywhere in the world.”
[Don Giovanni, Opera Atelier] John Terauds, Toronto Star

“Meghan Lindsay sang Donna Anna in 2011 and does so again…the passage of time has only increased the breadth and especially the power of her soprano. These qualities only make Lindsay’s portrayal of Anna has become stronger and turns her many arias of mourning into expressions of the only unfeigned emotions in the entire opera.”
[Don Giovanni, Opera Atelier] Christopher Hoile, Stage Door

“Soprano Meghan Lindsay (Donna Anna) displayed her strong, clear, bright sound that always attracts the ear, and radiates passion and drama.”
[Don Giovanni, Opera Atelier] Paula Citron,

“Lindsay delivered a roller coaster of lustrous phrasing and expression throughout her emotionally torn performance, especially in her Act II emotional nadir ‘Se il padre perdei,’ and also in the equally affecting and nuanced cantabile masterpiece ‘Zeffiretti, lusinghieri’ in Act III.”
[Idomeneo, Opera Atelier] Stephen Bonfield, Opera Canada

“[Lindsay’s] technique and control of dynamics are impeccable making each one of her arias from ‘Padre, germani, addio’ to ‘Zeffiretti lusinghieri’ shine like a jewel.”
[Idomeneo, Opera Atelier] Christopher Hoile, Stage Door

“What makes it a worthy night out: Meghan Lindsay’s stunning Ilia…Meghan Lindsay sounded her best yet as Ilia, sending gathered, rich sounds out into the hall.”
[Idomeneo, Opera Atelier] Jenna Simeonov, Schmopera

“(Lindsay) erupted into full flower during the climactic scene of the first half, a starmaking paean to Elena and Amore (Cupid).”
[Paride ed Elena, Odyssey Opera] Zoë Madonna, The Boston Globe

“… it was clear that the Huntington Avenue Theater was hosting a pair of stars… It is exceedingly rare that older opera traditions are performed with such fire, and both Asselin and Lindsay deserve major accolades for bringing Gluck’s music to real life.”
[Paride ed Elena, Odyssey Opera] Arturo Fernandez, Schmopera

“From ‘O del mio dolce ardor’ (O my gentle love) to the dramatic “Di te scordarmi, e vivere”, Lindsay sang the suitor’s role with high power…this is a lofty part, and Lindsay delivered it all with confident clarity and presence.”
[Paride ed Elena, Odyssey Opera] Keith Powers, Classical Voice North America

“The acting (Lindsay) brings to the statue’s coming to life is beyond what one often encounters in the best productions of Shakespeare’s The Winter’s Tale where the statue of Hermione also comes to life.”
[Actéon / Pygmalion, Opera Atelier] Christopher Hoile, Stage Door

“Meghan Lindsay impressed as Aréthuze in Actéon and Galatée in Pigmalion…She was a perfect Galatée, embodying the dream of the newborn, innocent – yet sexy – woman, created by the artist to suit his desires.”
[Actéon / Pygmalion, Opera Atelier] Laura Servidei, Bachtrack

“Meghan Lindsay apporte beaucoup de noblesse à la courte intervention d’Aréthuze (Ah qu’on évite de langueurs).”
[Actéon / Pygmalion, Opera Atelier] Bruna Maury, Baroquiades

“Meghan Lindsey was an impressive presence as Minerva. Somehow, however much in the background, she caught the eye whenever she was on stage and sang with considerable authority when required.”
[Il ritorno d’Ulisse in patria, Opera Atelier] John Gilks, Bachtrack

“Meghan Lindsay played the large role of the goddess Minerva to great effect.”
[Il ritorno d’Ulisse in patria, Opera Atelier] Paul Merkley and David Richards, Toronto Concert Reviews

“Meghan Lindsay’s bright metallic soprano is fierce power personified in the role of Minerva.”
[Il ritorno d’Ulisse in patria, Opera Atelier] Keira Grant, Mooney on Theater

“As Minerva, soprano Meghan Lindsay gifts The Return of Ulysses with some of its most resounding moments of declamation, her pale, spectral presence chillingly haunting; her voice, a divine luminescent force.”
[Il ritorno d’Ulisse in patria, Opera Atelier] Ian Ritchie, Opera Going Toronto

“Meghan Lindsay est une Nérine à la prononciation parfaite et à la voix chantante et aérienne- Olyrix.”
[Médée, Opera Atelier] Damien Dutilleul, Olyrix

“Soprano Meghan Lindsay provided elegantly phrased support as Dido’s sister Belinda.”
[Dido and Aeneas, Opera Atelier] Christopher Hoile, Opera News

“Soprano Meghan Lindsay is Belinda, sister to Dido, confidante and critic. Vocally silvery and gleaming, the gifted early opera specialist lights up this shimmering Dido and Aeneas, her character a key player in building and rebuilding musical momentum scene after scene. Forever in command, Lindsay clearly glories in her role.”
[Dido and Aeneas, Opera Atelier] Ian Ritchie, Oper Going Toronto

“As Belinda, Dido’s faithful handmaiden, soprano Meghan Lindsay brings her characteristic twinkly voice to the spritely melisma Purcell set out of her. She was so appealing in this role. There was a youthful vitality in her demeanour and voice that made Belinda one of the most lovable characters on the stage.”
[Dido and Aeneas, Opera Atelier] Greg Finney, Schmopera

 “Appearing as Giunia, soprano Meghan Lindsay voices a strong, resolute heroine depicted in vivid primary colours. Gifted with numerous arias, her clear, translucent top speaks of unbending purity and goodness.”
[Lucio Silla, Opera Atelier] Ian Ritchie, Opera Going Toronto

“Meghan Lindsay was powerful and effective as Giunia, the object of both Silla’s lust and Cecilio’s love.”
[Lucio Silla, Opera Atelier] Robert Harris, The Globe and Mail

“As Giunia, Meghan Lindsay also shines with greater vocal strength and control than ever before and dazzles with her coloratura passages.”
[Lucio Silla, Opera Atelier] Christopher Hoile, Stage Door

“Meghan Lindsay, in the role of Giunia, the tragic heroine, demonstrated herself to be a consummate performer in the role. She injected a dark, somber quality to her voice that I have not heard from her before.”
[Lucia Silla, Opera Atelier] Keira Grant, Mooney on Theatre

“Lindsay’s Alcina commanded great feminine power over her island dominion. This was until hubris touched her, and the once conceited ego panics at the thought of her purview crumbling around her.”
[Alcina, Opera Atelier] Michael Vincent, Ludwig van Toronto

“Soprano Meghan Lindsay’s portrayal of the title role had the richness needed to elevate the figure of ‘Alcina’ to the status given to the most tragic characters in the operatic repertoire.”
[Alcina, Opera Atelier] Brian Hay, No Rules No Lights

“Alcina is her role through and through. The comfort in her middle range coupled with crystal-clear diction added an incredible depth of colour when she went into the top end of her vocal line. Her aria at the top of Act II was breathtaking.”
[Alcina, Opera Atelier] Jenna Simeonov, Schmopera

“In Alcina’s title role, soprano Meghan Lindsay summons a sorceress of enormous complexity. Graced with a bright, limpid instrument, luscious timbre and superb technique, Lindsay reaches deep into her character to craft a performance bursting with paradox.”
[Alcina, Opera Atelier] Ian Ritchie, Opera Going Toronto

“The cast was made up of OA veterans – all so vocally talented that it’s hard to know where to begin singing their praises. With the strong, edgy performance of soprano Meghan Lindsay as the sorceress Alcina?”
[Alcina, Opera Atelier] Colin Eatock, Eatock Daily

“Ms. Lindsay managed to inject enough bite into her timbre and enough menace to her demeanor that she was convincing in the role of the evil sorcerer.”
[Alcina, Opera Atelier] Keria Grant, Mooney on Theatre

“With her ravishing voice and dramatic skills, the soprano will win over her audience both male and female.”
‘10 Artists to Watch,’ published September 18, 2014 by Jon Kaplan and Glenn Sumi, NOW Toronto

“The bulk of the concert was devoted to two secular wedding cantatas by J.S. Bach, which were given scintillating readings by soprano Meghan Lindsay…”
[“A Baroque Wedding Feast,” Ars Lyrica] Chris Johnson, Arts and Culture Texas

“Soprano Meghan is a survivor, and completed two entire Bach cantatas in one program, which included nine arias, nine recitatives and one gavotte. I got tired just counting! Amazing stamina while performing dramatically or with lilting tones.”
[“A Baroque Wedding Feast,” Ars Lyrica] The Houston Critic

“Lindsay’s roles delighted the crowd with her sweet and sinuously expressive vocal delivery, made all the more meaningful through the enhanced movement of her hands — which generally resembled those of a ballerina. The fact that she is a Glimmerglass Young Artists speaks volumes about the depth of this program.”
[Armide, Glimmerglass Festival] David Abrams,

“Meghan Lindsay’s Donna Anna also impressed me enormously, offering a stunningly attractive stage presence married to the kind of crisp, clear sound that gives the role its true place in the score.”
[Don Giovanni, Opera Atelier] Richard Ouzounian, Toronto Star


Charpentier Arethuze ACTEON
Händel Alcina ALCINA
  Armida RINALDO
Lully Nymphe des eaux/Sidonie ARMIDE
  Nymphe guerriere/Venus PERSÉE
  Euridice ORFEO
Mozart Fiordiligi COSÍ FAN TUTTE
Puccini Mimì LA BOHÈME
  Musetta LA BOHÈME
Rameau La Statue PYGMALION
Stravinsky Anne Trulove THE RAKE’S PROGRESS
Verdi Violetta Valery LA TRAVIATA
  Luisa Miller LUISA MILLER


Bach BWV 202
  BWV 210
Barber Knoxville: Summer, 1915
Beethoven Symphony No. 9
Danielpour Sonnets to Orpheus
Debussy Ariettes oubliées
  Quatre chansons de jeunesse
Dvorak Cigánské melodie
Händel Messiah
Mahler Symphony No. 2
Mendelssohn Elijah
Mozart Mass in C minor
  Concert Arias
Poulenc Les Banalites
Ravel Schéhérazade
Scarlatti La sposa dei cantici
Schubert Der hirt aus dem felsen
Strauss Allerseelen



With Opera Atelier, Meghan is Donna Anna in Mozart’s Don Giovanni from October 31 through November 9, 2019.



As part of the 2019 Scotiabank Contact Photography Festival, Meghan sings a one-night-only performance at artist Alex McLeod’s show “Ghost Stories.” At Toronto’s Galerie Division, the event was on May 8, 2019.


In rehearsal for Paride ed Elena with Odyssey Opera