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date = "2019-02-26T23:44:10+00:00"
discipline = "Soprano"
primary_image = "https://res.cloudinary.com/schmopera/image/upload/v1551224546/media/2019/02/CaitlinLynch.jpg"
primary_image_credit = ""
related_companies = ["scene/companies/the-dallas-opera.md", "scene/companies/spoleto-festival-usa.md", "scene/companies/des-moines-metro-opera.md", "scene/companies/arizona-opera.md", "scene/companies/english-national-opera.md", "scene/companies/the-metropolitan-opera.md", "scene/companies/seattle-opera.md", "scene/companies/glimmerglass-festival.md", "scene/companies/palm-beach-opera.md"]
slug = "caitlin-lynch"
social_media = []
title = "Caitlin Lynch"
website = "https://www.caitlinlynchsoprano.com/"

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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 makes her company debut with **San Diego Opera**, singing the Countess in _Le nozze di Figaro_. She makes returns to **Palm Beach Opera** as Donna Anna in _Don Giovanni,_ and to the **Seiji Ozawa Music Academy** as Micaëla in _Carmen_. The summer brings a return to **Chautauqua Opera**, debuting the role of Marie Antoinette in _Ghosts of Versailles._ Future seasons include an appearance with **Arizona Opera**.

The 2017-2018 season brought a return to the **Metropolitan Opera** to sing the Countess in _Le nozze di Figaro,_ a role she also performed with **Palm Beach Opera.** She also appeared with the **Mostly Modern Festival** as the soprano soloist in Robert Paterson’s _Walt’s America._

2016-2017 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** as 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_.