maddalena, rigoletto
opera theatre of saint louis 2019

Lindsay Ammann's brassy-voiced Maddalena - Dallas Morning News

And in a brief #MeToo moment, Lindsay Ammann’s Maddalena recoiled from the Duke’s brutal advances. Then it was over—she let him seduce her in the opera’s famous Act III quartet, the strongest musical performance of the evening. - Wall Street Journal

As his sister Maddalena, mezzo-soprano Lindsay Ammann displayed a big, rich voice and uncommon agility. - St. Louis Post Dispatch

Jezibaba, rusalka
madison opera 2019

Lindsay Ammann was a malevolent marvel as a cackling Ježibaba with booming chest notes to burn. - Opera News

olga, eugene onegin
washington national opera 2019

The deep, sumptuous tone of Lindsay Ammann made Olga a major vocal presence, and the mezzo’s acting - she seemed the essence of spoiled, unaware youth - registered just as strongly. - Opera News

Mezzo-soprano Lindsay Ammann brought her wonderfully unusual voice to the role of the boisterous Olga. Having heard her in several roles at WNO, I never fail to be amazed at what she can do in the lowest parts of her range.  - Schmopera

Mezzo-soprano Lindsay Ammann, who excelled as Erda and other roles in the WNO Ring Cycle, used her potent chest range for the comic side of Olga, Tatiana’s younger sister. The production, created by director Robert Carsen, emphasizes from the beginning how unsuitable a match Olga is for the ardent poet Lensky, something suggested by Tchaikovsky’s vocal casting of low and high voices. - Washington Classical Review

Lindsay Ammann plays Olga and brings a bright sound and energy to the stage, the antithesis of the others’ drapings of melancholia. She portrays Olga’s light-hearted playfulness, and reveals a character almost as careless as Onegin. Olga is the flip-side of him: she expresses her shallowness by feverish activity to be the life of the party and flitting from thing to thing to satiate her appetites. I’m sad Tchaikovsky dropped the character after the fiancé has been killed in a duel. I would have liked to know how the character  (and this lovely singer) handled the situation and the maturing process. - DC Theatre Scene

Lindsay Ammann did a fine job as Olga, Tatiana’s sister and Lensky’s fiancee. - Washington Post

Lindsay Ammann makes a charming splash as Tatiana’s sister Olga - DC Metro Theater Arts

Mezzo-soprano Lindsay Ammann brings high energy to Olga - Georgetowner

Lindsay Ammann shines dramatically and vocally as Olga, the highest-ranking non-Russian in the cast. - Delicious Mischief

la ciesca, gianni schicchi
metropolitan opera 2018

Ammann’s Ciesca also stood out for her arresting mezzo and Christine Baranski-style flooziness - Opera News

la badessa, suor angelica
metropolitan opera 2018

Among the other sisters of Angelica’s order, Lindsay Ammann stood out as the Abbess for her burning, taut contralto - New York Classical Review

Best of the solo nuns were Maureen McKay (Sister Genovieffa), Megan Marino (Nursing Sister), Lindsay Ammann (Abbess) and Leah Hawkins, in her company debut as one of the Alms sisters. - Opera News

Azucena, Il Trovatore
central City opera 2018

Joining this solid trio was newcomer Lindsay Ammann, whose Azucena emerged as more than a Gypsy on a mission. Her “Stride la vampa!” was attacked with the expected fury, but her characterization revealed more than mere rage; Ammann delivered sorrow, mourning, kindness and self-pity in this fleshed-out portrayal. - Opera News

Best of all was Azucena, the gypsy protagonist of the story. Lindsay Ammann brought a stunning mezzo and a twisted drama to the role and it was impossible to keep one’s eyes off her whenever she was on stage. - The Gazette

Erda, Wagner’s Ring Cycle
Washington National Opera 2016

What a deep, profound voice this young singer has. Barely 30 and slight of build, Ms. Ammann possesses a dark, mysterious, hypnotic instrument whose power has only just begun to build, and it was gratifying to experience its appropriately primal depth in this production. - Communities Digital News LLC

Lindsay Ammann sang vividly as Erda, portrayed in 2006 as a Native American and now modified with a dash of Goth lite. - The Washington Post

Lindsay Ammann as Erda unleashed a striking, baritonal lower register. - The Washington Post

Lindsay Ammann’s appearance as Erda, Earth Mother, Native American style, brought us lovely, deep, stilling tones. In this environmental reading, her role is crucial, and Ammann weighted it with suitable gravitas. - bachtrack

Lindsay Ammann’s deep contralto was a fitting vessel for the embodiment of female wisdom... - bachtrack

Contralto Lindsay Ammann, who is to appear in a variety of roles throughout this Ring, made a strong impression, bringing a gorgeous, rounded sound to Erda’s music. - parterre box

Contralto Lindsay Ammann thrilled again, adorning Erda’s music with spectacular low notes. - parterre box

Suzuki, Madama Butterfly
North Carolina Opera 2015

"She is joined by contralto Lindsay Ammann as Suzuki, an effervescent and often humorous maid who tries over and over to tell Butterfly that the young American will never return; but Butterfly doesn’t listen. Though Suzuki appears to be a nag, Ammann’s mannerisms reveal her love for her mistress. She shares Butterfly’s heartbreak, as much as she shares her love for her young son. - Triangle Arts and Entertainment

North Carolina Opera's Madama Butterfly had in contralto Lindsay Ammann a Suzuki not just capable of singing the rôle—a trait more precious than might be supposed—but also unusually adept at being not merely a companion but a genuine comfort and confidante for her Butterfly. She was the epitome of nervous energy in Act One, rattling through 'Sorride Vostro Onore? Il riso è frutto e fiore' with girlish elation. She voiced 'Ecco! Son giunte al sommo del pendio' beguilingly. Suzuki's prayer at the start of Act Two, 'E Izaghi ed Izanami, Sarundasico e Kami,' received from Ammann firm, focused tones, and there was compassion even in her stark 'Mai non s'è udito di straniero marito che sia tornato al nido,' reminding Cio-Cio San that foreign husbands who return to their distant wives are an unknown species. The contralto's 'Vespa! Rospo maledetto!' was Wagnerian in scope, her top Fs and G♭s flashing like lightning bolts. In Act Three, Ammann's declamation of 'Già il sole!' was a crestfallen acknowledgement that Suzuki's fears were well-founded, and she sang 'Come una mosca prigioniera l'ali batte il piccolo cuor!' heartbreakingly. Ammann projected notes in chest register of which a baritone would have been proud, and she portrayed an animated, poignantly sisterly Suzuki. - Voix des Arts

Lindsay Ammann’s focused, warm mezzo was perfect for Suzuki, Butterfly’s maid, and she acted the part’s fierce devotion superbly. - The News & Observer

Soloist, Tristan und Isolde Act 2 (in concert)
Casals Festival Puerto Rico 2013

"En la primera escena Tiihonen quedó opacada por la espléndida Brangania de Lindsay Ammann, una joven contralto de carismática personalidad y potente voz....." -

"Tiihonen In the first scene was overshadowed by the splendid Brangäne Lindsay Ammann, a young contralto charismatic personality and powerful voice...." -

Soloist, Messiah
Pittsburgh Symphony Orchestra 2011

"The vocal soloists were well matched. The one who impressed most on second hearing was Ms. Ammann, with a rich mezzo sonority..." - The New York Times

Beatrice, Le Donne Curiose
Wolf Trap Opera 2011

"That wife, Beatrice, was portrayed with vocal and comedic flourish by contralto Lindsay Ammann." – Opera News

" Beatrice, the incredible, burnished quality of Lindsay Ammann’s profound contralto as a genuine revelation." – The Washington Times

"Contralto Lindsay Ammann is an elegantly calm Beatrice, wife of Kenneth Kellogg’s Ottavio, who looks down on her from his intimidating height and stonewalls her questions. Ammann has a big, luscious voice, beautifully under control" – The Washington Post

Rossweisse, Die Walküre
The Metropolitan Opera 2011

"Her sister Valkyries sounded fresh and robust and along with Kaufmann and Blythe, they were the vocal highlights of the production." – The Star-Ledger

Goffredo, Rinaldo
Pittsburgh Opera 2011

"Lindsay Ammann a full-voiced and Romantic Goffredo." – Pittsburgh Post-Gazette

Alisa, Lucia di Lammermoor
Pittsburgh Opera 2010

"Lindsay Ammann had a small role as the nurse Alisa but again showed a rich voice with real potential." – Pittsburgh Post-Gazette

Olga, Eugene Onegin
Opera Theatre of Saint Louis 2010

"Three excellent mezzo-sopranos filled out the cast — rich-voiced Lindsay Ammann, a former Gerdine Young Artist, as Tatiana's sister, Olga; Gloria Parker as their cheerful, elegant mother; and Susan Shafer in the role of Filippyevna, the family's old nurse." – Opera News

"As Olga, Lindsay Ammann excelled in her low register." – The Wall Street Journal

Marcellina, Le Nozze di Figaro
Pittsburgh Opera 2010

"Lindsay Ammann's Marcellina had the contralto power to account for the fact that she will make her debut as a Valkyrie next season at the Met." – Opera News

"Ms. Ammann projected an apt, cartoonish visage as Marcellina." – Pittsburgh Post-Gazette

Opera contralto to make debut at the Met - Pittsburgh Post-Gazette

Contralto returns with a principal role - St Louis Post-Dispatch

Lucretia, The Rape of Lucretia
Pittsburgh Opera 2010

"Lindsay Ammann’s sumptuous contralto sound and statuesque persona made this Lucretia a force to be dealt with. She was strong and alluring, and in Rigazzi’s staging she did not submit easily to the youthful, mellifluous Tarquinius of Dan Kempson. Later, she used gesture and nuance skillfully to convey a gamut of emotions from hysteria (on "Give him the orchid") to controlled desperation (in the "Flowers" passage") to the highest grief in her confession." – Opera News

"Lucretia is Lindsay Ammann, a 25-year-old mezzo whose voice is already a force of nature, capable of sinister low chest tones and robust high notes that can express a gamut of emotions. Her lament in the "Flowers" aria is painfully affecting, followed by a subtly nuanced declamation (on a repeated low B for several lines) of her ravishment." – Pittsburgh Post-Gazette

"Mezzo-soprano Lindsay Ammann gave a brilliant portrayal of Lucretia, magnificently sung and acted with remarkable projection of inner strength and dignity. That she sings with such focus and security from top to bottom at age 25, when her voice is still developing, augurs a major career for this artist." - Pittsburgh Tribune-Review

"The opera's most haunting moments are those leading to Lucretia's suicide. She's been forgiven by her husband, but Lucretia is a deeply honorable person. Her honor comes from within her own spirit and that's been shattered. Nothing external, even her husband, can heal the shame and pain she feels. Ammann's portrayal conveys this, which is why her performance is a big-league achievement that's not to be missed." – Pittsburgh Tribune-Review

Dame Quickly, Falstaff
Pittsburgh Opera 2009

"Lindsay Ammann's Dame Quickly had suitable spunk." – Opera News

"...and especially the expressive Lindsay Ammann (Mistress Quickly)"– Pittsburgh Post-Gazette

Olga, Eugene Onegin
Pittsburgh Opera 2009

"She was quickly joined in the opening ensemble by the worthy Lindsay Ammann as her sister, Olga. Ammann's performance, including her own aria, was especially impressive because she is a first-year resident artist of Pittsburgh Opera." – Pittsburgh Tribune-Review

Herodias's Page, Salome
Opera Theatre of Saint Louis 2009

"Gerdine Young Artists Lindsay Ammann (as Herodias's Page), Matthew Anchel (First Soldier) and Joshua Kohl (First Jew) were standouts." – Opera News

"As the Page, smitten with Narraboth, Lindsay Ammann displayed a clear mezzo voice and matching diction." –

Kate Pinkerton, Madama Butterfly
Opera Theatre of Saint Louis 2008

"This season's repertoire offered few opportunities to feature OTSL's fine crop of Gerdine Young Artists, but mezzo Lindsay Ammann was an impressive Kate Pinkerton." – Opera News