Declared “luminous” by the New York Times and “eloquent” by the Wall Street Journal, soprano Caitlin Lynch is captivating audiences with her portrayals of iconic leading ladies. With a repertoire that encompasses Mozart to Verdi and Handel to Heggie, Ms. Lynch brings her dynamic portrayals of both classic and contemporary operas to stages around the world.
This season, the soprano returns to the Metropolitan Opera to sing the Countess in Le nozze di Figaro, a role she will also perform with Palm Beach Opera. Other assignments during the season at the Metropolitan Opera include covers of the First Lady in Die Zauberflöte. She also appears with the Mostly Modern Festival as the soprano soloist in Robert Paterson’s Walt’s America. Future seasons include a debut with San Diego Opera and a return to the Seiji Ozawa Music Academy.
Last season brought two major debuts for Ms. Lynch: with English National Opera for Donna Anna in Don Giovanni, and Micaëla in Carmen, conducted by Seiji Ozawa at his Music Academy . The soprano also returned to the stage of the Metropolitan Opera as Pamina in The Magic Flute, conducted by Antony Walker, and Utah Opera for Donna Elvira in Don Giovanni. In concert, she joined the St. Louis Symphony and music director David Robertson for Mozart’s Requiem.
During the 2015-2016 season, Ms. Lynch appeared as The Countess in Le nozze di Figaro with Seattle Opera, returned to The Metropolitan Opera for Le nozze di Figaro and Die Entführung aus dem Serail, and sang Violetta in La traviata with Chautauqua Opera. On the concert stage she sang Beethoven’s 9th Symphony with Seattle Symphony, Dvořák’s Stabat Mater with Omaha Symphony, and Händel’s Messiah with Calvin Oratorio Society. Ms. Lynch made her Metropolitan Opera début performing Biancofiore in Zandonai’s Francesca da Rimini and returned as Cynthia in Nico Muhly’s world-première production of Two Boys, as well as their new production of Le nozze di Figaro.
Ms. Lynch made her Metropolitan Opera début performing Biancofiore in Zandonai’s Francesca da Rimini and returned as Cynthia in Nico Muhly’s world-première production of Two Boys, also participating in their new production of Le nozze di Figaro.
Additional recent engagements include: the role of Yadwiga in the world première of Ben Moore’s Enemies, a Love Story at Palm Beach Opera, Marguerite in Faust at Michigan Opera Theatre, Violetta in La Traviata with Arizona Opera and Des Moines Metro Opera; and a return to the Spoleto Festival USA as the Soprano Soloist in John Adams’ El Niño. Concert engagements include Beethoven’s Ninth Symphony with Seattle Symphony, Orff’s dramatic cantata Carmina Burana with Seattle Symphony, Milwaukee Symphony, and Alabama Symphony, Ein Deutsches Requiem with the Grant Park Music Festival, and Händel’s Messiah at Pacific Symphony and Milwaukee Symphony.
She received international acclaim for creating the role of Eliza in Nico Muhly’s new chamber opera, Dark Sisters, which premiered at the Gotham Chamber Opera in New York with subsequent performances at the Opera Company of Philadelphia. The Associated Press proclaims, “It’s most of all Eliza, portrayed by the compelling soprano Caitlin Lynch, who commands our attention and sympathy,” and The New York Post states “Caitlyn Lynch unfurled a shimmering soprano as rebellious wife Eliza.”
Ms. Lynch, known for her dynamic interpretation of new music, has also worked closely with composers such as Jake Heggie, who engaged her to sing the world première of his new song cycle, Another Sunrise, commissioned by Music of Remembrance in Seattle. This led to a world-première performance of a commission by Jake Heggie with Music of Remembrance entitled, Farewell, Auschwitz!
In her signature role of Countess Almaviva in Le nozze di Figaro, which she has performed with the Glimmerglass Opera, Lyric Opera Baltimore, Michigan Opera, and Opera Lyra Ottawa, critics touted “Time stands still when Caitlin Lynch sings. Her honeyed tone and sweetness of expression as Countess Almaviva goes straight to the heart.” She is also in demand in other important Mozart roles such as such as Donna Anna (Pittsburgh Opera, Green Mountain Opera Festival, Michigan Opera Theatre) and Donna Elvira in Don Giovanni (Madison Opera, Opera Carolina); Konstanze in Die Entführung aus dem Serail (Arizona Opera); Erste Dame in Die Zauberflöte (Dallas Opera); and Fiordiligi in Così fan tutte (Opera Carolina, Arizona Opera, Palm Beach Opera).
Additional performances have included Micaëla in Carmen at Seattle Opera; Alice Ford in Falstaff with Opera Cleveland and the Boston Youth Symphony; Musetta in La bohème at Nashville Opera; Leïla in Les pêcheurs des perles at Opera Cleveland; and Mrs. Gobineau in The Medium at Spoleto Festival USA.
On the concert stage, Ms. Lynch has collected accolades for her performances in Orff’s dramatic oratorio Carmina Burana: “The highpoint of vocal soli was Caitlin Lynch, whose projection and fullness of sound perfectly suited the role. She was consistently in control of color, creating a resonant, shimmering tone.” Other notable concert appearances include Mozart’s Requiem with Kentucky Symphony Orchestra; Händel’s Messiah with the Lexington Philharmonic, Ann Arbor Symphony, Pacific Symphony and Milwaukee Symphony; Carl Nielson’s Symphony No. 3, Op. 27 with the Cincinnati Symphony Orchestra; a Mendelssohn concert with the Glimmerglass Opera; Monteverdi’s Lamento della Ninfa with the Grandin Festival; a concert with the Columbus Symphony entitled “Beyond the Score”; Madison Opera’s Gala Concert in the Park series; and a recital with tenor Paul Appleby at the Aspen Music Festival.
She was awarded first-place in the 2008 Houston Grand Opera Competition, and subsequently made her main-stage début as Hero in Beatrice et Benedict, Female Soloist in the American première of Chorus!, and in A Midsummer Night’s Dream. Additional awards include a Sara Tucker Grant from the Richard Tucker Foundation, First Place in the Irma M. Cooper Opera Columbus Competition, the encouragement award from Opera Index and the Jensen Foundation Voice Competition, and 2nd place winner of the Palm Beach Opera Competition.
Ms. Lynch completed the Seattle Opera Young Artist Program, where she performed Micaëla in Carmen and Alice Ford in Falstaff. As part of Glimmerglass Opera’s Young Artist Program, she sang Cleopatra in Giulio Cesare for their Gala Concert at the Morgan Library, and in productions of Orphée et Eurydice and Orfeo during their summer season. Other performances included Oasis in L’étoile with the Cincinnati Opera, and several roles at the University of Cincinnati CCM: Donna Anna in Don Giovanni, Ginevra in Ariodante, and Philippa in Babette’s Feast.
Metropolitan Opera – Die Zauberflöte
Caitlin Lynch, as Pamina – in the single performance awarded her all season – proved a triumph lovely and moving, physically, musically, and vocally. Why don’t we hear this outstanding soprano more often?”
David Shengold, Gay City News
St. Louis Symphony – Mozart Requiem
Soprano Caitlin Lynch brought a clear, beautiful voice and radiant presence to her part.”
Sarah Bryan Miller, St. Louis Post-Dispatch
Milwaukee Symphony – Carmina Burana
Lynch…created an engaging character, singing with a gorgeous, ringing sound and communicative interpretation.”
Elaine Schmidt, Milwaukee Journal Sentinel
Michigan Opera Theatre – Faust
As the tragic Marguerite, Caitlin Lynch delivered a shimmering, youthful soprano that was as natural in her giddy “Jewel Song” as in the final frantic act.”
Jennifer Goltz Taylor, Opera News
Music of Remembrance – Out of Darkness
Caitlin Lynch’s rich, shimmering soprano shines with a resplendent inner light, brilliantly projecting the combination of fortitude and empathy that made Zywulska’s survival possible. [Out of Darkness is] a powerful and painfully beautiful work, and between Miller’s virtuosic chamber ensemble and Lynch’s impassioned, multi-dimensional embodiment of Zywulska, it’s hard to imagine a better performance.”
Joanne Sydney Lessner, Opera News
Arizona Opera – La traviata
And so it is a true coup de théâtre for Arizona Opera to have cast the omnidextrous soprano Caitlin Lynch as Violetta in its latest production. In her opening-night appearance at Phoenix’s Symphony Hall, she shone in every facet of performance, from consummate interpretations of Verdi’s elegant arias to lucid acting in a dramatic arc that takes her character from carefree libertine to joyful penitent to forlorn wretch.
There isn’t a weak moment in Lynch’s tour de force, but her most captivating scene is the opening of Act 2, when Violetta, now happily cohabitating with the adoring Alfredo in her country house outside Paris, is visited by her lover’s father, Giorgio. Hoping for a warm welcome into the family, she is devastated when the stern patriarch presses her to sever her relationship for the sake of Alfredo’s sister, who cannot make a marriage match in proper society while a whiff of scandal lingers.
Kerry Lengel, AZ Central
Milwaukee Symphony – Messiah
Caitlin Lynch brought a ringing, silvery sound to the soprano solos, singing with technical ease and a flowing sense of musical line.”
Elaine Schmidt, Milwaukee Journal Sentinel
Gotham Chamber Opera – Dark Sisters
Among a uniformly excellent cast, Caitlin Lynch unfurled a shimmering soprano as rebellious wife Eliza.”
James Jorden, New York Post
“Still, Mr. Muhly and Mr. Karam have done something right, because the wives emerge as poignant characters, especially Eliza, here the lustrous soprano Caitlin Lynch, who alone finds the courage to challenge her husband and unleashes a pent-up condemnation of the Mormon elders during the interview, calling upon her sisters to break free.”
Anthony Tommasini, New York Times
“Caitlin Lynch gave an intense performance, with the lucid, natural quality of her soprano well-suited to her character.”
Ronni Reich, The New Jersey Star-Ledger
Opera Carolina – Così fan tutte
Caitlin Lynch, playing Fiordiligi – the girlfriend who resists temptation longest – sang with a lyricism and commitment that were especially telling.”
Steven Brown, Charlotte Observer
Michigan Opera Theatre – Don Giovanni
Chief vocal honors go to soprano Caitlin Lynch, a Michigan native, who sang Donna Anna’s music with seamless, effortless, unforced sound. Her “Non mi dir” was especially beautiful, a model of controlled yet plangent singing.”
John Gunn, Opera News
|Bizet||Leila||Les pêcheurs de perles|
|Britten||Helena||A Midsummer Night’s Dream|
|Britten||Ellen Orford||Peter Grimes|
|Britten||Governess||Turn of the Screw|
|Britten||Female Chorus||Rape of Lucretia|
|Floyd||Love Simpson||Cold Sassy Tree|
|Gounod||Juliette||Romeo et Juliette|
|Heggie||Krystyna||Out of Darkness|
|Moore||Baby Doe||The Ballad of Baby Doe|
|Mozart||Constanze||Die Entführung aus dem Serail|
|Mozart||Pamina / 1st Lady||Die Zauberflöte|
|Mozart||Donna Anna / Donna Elvira||Don Giovanni|
|Mozart||Countess||Le nozze di Figaro|
|Mozart||Fiordiligi||Cosi fan tutte|
|Offenbach||Antonia||Tales of Hoffmann|
|Previn||Blanche||A streetcar named desire|
|Stravinsky||Anne Trulove||The Rake’s Progress|
|Mozart||Mass in C minor|
|Vaughan Williams||Serenade to Music|