photo: Erdem Akkaya

ROLE DEBUT
SPRING 2018

 

 • TORONTO, ON

 

 
Graced with a bright, limpid instrument, luscious timbre and superb technique, Lindsay reaches deep into her character to craft a performance bursting with paradox.
— Opera Going Toronto
 

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.” Following a performance of Alcina celebrated as "diabolically charming" and "graced with a bright, limpid instrument, luscious timbre and superb technique," Meghan returned to Opera Atelier as Amour in Gluck’s Orphée et Eurydice, Giunia in the Canadian premiere of Mozart’s Lucio Silla, Belinda and Dido and Aeneas, and Nérine in Charpentier's Medée. In 2018/19, Meghan's role debuts include Minerva in Il ritorno d'ulisse in patria (Opera Atelier), 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), and Ilia in Idomeneo (Opera Atelier.)

Meghan 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, Meghan has performed the 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, Sidonie/Nymphe des Eaux with the prestigious Glimmerglass Festival.

Meghan was a young artist with Opera Studio Nederland where she made her European debut as Euridice in Pierre Audi’s production of Monteverdi’s L’Orfeo, her Concertgebouw debut singing Donna Anna, and performed Fiordiligi in Così fan tutte. An accomplished concert artist, Meghan has been featured on CTV television and CBC radio broadcast. Meghan performed at Carnegie Hall as a member of the The Song Continues workshop with the Weil Institute and has presented recitals internationally, including a tour of China representing the Royal Conservatory of Music, Barrie’s Colours of Music, the Creemore Music Festival, the Houston Early Music Festival, and Holland’s Uitmarkt. Meghan is the winner of the Brian Law Competition and was a semi-finalist in the Queen Elisabeth Competition. She is an alumni 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 in Nonprofit Leadership from Carleton University, has both moderated and curated academic panels on Canadian arts, and is an OGS recipient for her research on classical music organizations in North America.

 Meghan Lindsay est une Nérine à la prononciation parfaite et à la voix chantante et aérienne- Olyrix

Soprano Meghan Lindsay provided elegantly phrased support as Dido’s sister Belinda

Bachtrack on Ulysses

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.

A Fierce Minerva

Megan Lindsay’s bright metallic soprano is fierce power personified in the role of Minerva

Ulysses is Moving and Memorable

 Meghan Lindsay played the large role of the goddess Minerva to great effect.

Ulysses is Theatrical Fireworks

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.

The Night I Sang Opera for Justin Bieber

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.

No boys allowed. #GoAwayAeneas #Matinee #OADido #OperaAtelier #Baroque

Posted by Wally Giunta on Sunday, October 23, 2016

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.

Meghan Lindsay was powerful and effective as Giunia, the object of both Silla’s lust and Cecilio’s love.

As Giunia, Meghan Lindsay also shines with greater vocal strength and control than ever before and dazzles with her coloratura passages.

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 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.

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.

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.

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.

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. 

In Opera Atelier’s Alcina, Meghan Lindsay plays a “man-eater,” Wallis Giunta plays a woman disguised as a man and Mireille Asselin plays a fairy who falls in love with him/her.

It’s a good thing the three women are such good friends.

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?

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.

With her ravishing voice and dramatic skills, the soprano will win over her audience both male and female.

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

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.

 

Leslie Barcza profiles Meghan with 10 Questions about her life, singing, and roles with Opera Atelier

 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.

Next to Dye, Canadian soprano Meghan Lindsay is the production's standout singer in the dual role of Sidonie and the Water Nymph.  Athough minor characters in this opera, 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. 

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.