With a voice “capable of sinister low chest tones and robust high notes” (Pittsburgh Post-Gazette) and a stage presence that has been called “a force” (Opera News), dramatic mezzo-soprano Lindsay Ammann is rapidly rising as a radiant star in the opera world. Possessing an instrument well-suited for the most dramatic of roles, Ms. Ammann is proving to be a future staple in the works of Verdi and Wagner.
Lindsay Ammann’s 2018-2019 season includes a return to the Metropolitan Opera as Abbess in Suor Angelica and Ciesca in Gianni Schicchi while also covering Principessa in Suor Angelica conducted by Bertrand de Billy. She returns to the Washington National Opera as Olga in Eugene Onegin and the Opera Theatre of Saint Louis as Maddalena in Rigoletto. She also makes her debut with the Madison Opera as Ježibaba in Rusalka conducted by John DeMain.
In David Pountney’s new production of Der Ring des Nibelungen at the Lyric Opera of Chicago, Lindsay Ammann debuted as Flosshilde in Das Rheingold and returned to sing Schwertleite in Die Walküre, both conducted by Andrew Davis. She also made her debuts at Opera Omaha as Quickly in Falstaff, Dallas Opera in Douglas Cuomo’s Arjuna’s Dilemma, and Azucena in Il trovatore at Central City Opera.
Lindsay Amman debuted at the Washington National Opera in Wagner’s Der Ring des Nibelungen directed by Francesca Zambello and conducted by Philippe Augin to great critical acclaim. She was heard as Erda in both Das Rheingold and Siegfried, as well as the First Norn in Götterdämmerung and Schwertleite in Die Walküre. She has made other debuts at Grand Théâtre de Genève as Dritte Dame in Die Zauberflöte, North Carolina Opera as Suzuki in Madama Butterfly, Aalto-Musiktheater Essen as Ježibaba in a new production of Rusalka, and the Canadian Opera Company as Schwertleite in Die Walküre. She returned to the COC as the 1st Norn in Götterdämmerung conducted by Johannes Debus and Death in The Nightingale conducted by Johannes Debus. In concert, she has sung Verdi’s Messa da requiem and as the Old Lady in Candide with the South Dakota Symphony, Martha in John Adams’ The Gospel According to the Other Mary with the Netherlands Radio Orchestra and her Casals Festival debut in Puerto Rico as Brangäne in a concert version of Tristan und Isolde.
Ms. Ammann made her Metropolitan Opera debut in Robert LePage’s Der Ring des Nibelungen as Rossweisse in Die Walküre under the baton of James Levine. She was recently a member of the ensemble at Staatsoper Stuttgart where she sang Dame Quickly in Falstaff, Olga in Eugene Onegin, the world premiere of Peter Pan, Mary in Der fliegende Holländer, Third Lady in Die Zauberflöte and First Norn and Flosshilde in Götterdämmerung, while covering Waltraute. She was also seen in productions of Ariadne auf Naxos and Die Zauberflöte. Other performances include alto soloist in a fully staged production of Handel’s Messiah with the Pittsburgh Symphony, Beatrice in Le donne curiose with the Wolf Trap Opera company and the Beggar Woman in Sweeney Todd with the National Symphony Orchestra.
Ms. Ammann finished her Resident Artist program with Pittsburgh Opera singing the roles of Alisa in Lucia di Lammermoor, Goffredo in Rinaldo, Olga in Eugene Onegin, Dame Quickly in Falstaff, Lucretia in The Rape of Lucretia, and covered the title role of Carmen. A former Gerdine Young Artist the Opera Theatre of Saint Louis, she has been seen there as Olga in Eugene Onegin, Kate Pinkerton in Madame Butterfly, Page of Herodias in Salome, and covered Samira in The Ghosts of Versailles and Antonia’s Mother in The Tales of Hoffmann. She was also a National Semifinalist in the 2007 Metropolitan Opera National Council Auditions.
Ms. Ammann can be seen on the Die Walküre DVD from the Metropolitan Opera’s Ring Cycle and the documentary Wagner’s Dream, as well as heard on the Grammy Award-winning Götterdämmerung CD, all commercially available on Deutsche Grammophon.