Lindsay Ammann’s 25/26 season engagements include debuts at Teatr Wielki (Warsaw) for Die Frau ohne Schatten (Die Amme) and The Santa Fe Opera for Eugene Onegin (Madam Larina) and Tobias Picker’s Lili Elbe (Mother). On the concert stage, Lindsay will debut with the Los Angeles Philharmonic in Die Walküre (Waltraute) and the San Diego Symphony in L’enfant et les sortilèges (Maman/La tasse chinoise/Un pâtre). She will also participate in a studio recording of Salome (Herodias) with the Orquesta Sinfónica de Minería of Mexico City. Upcoming seasons are highlighted by returns to Opéra National de Lyon and The Dallas Opera.
Lindsay began the 24/25 season with a role and house debut at the San Francisco Opera for A Handmaid’s Tale (Serena Joy) followed by returns to Bayerische Staatsoper for Le Grand Macabre (Mescalina), Deutsche Oper Berlin for Rigoletto (Maddalena) and The Atlanta Opera for Siegfried (Erda). On the concert stage, she returned to Erie Philharmonic for Verdi’s Messa da requiem.
Recent highlights include debuts at Lyric Opera of Chicago in David Pountney’s new production of Der Ring des Nibelungen (Flosshilde/Schwertleite), Washington National Opera in Der Ring des Nibelungen (Erda/Die erste Norn/Schwertleite) directed by Francesca Zambello, Grand Théâtre de Genève in Die Zauberflöte (Dritte Dame), The Dallas Opera in Cuomo’s Arjuna’s Dilemma, the Canadian Opera Company in Die Walküre (Schwertleite), Opera Omaha in Falstaff (Quickly), Central City Opera in Il trovatore (Azucena), North Carolina Opera in Madama Butterfly (Suzuki), Aalto-Musiktheater Essen in a new production of Rusalka (Ježibaba), and a role and house debut at Opéra National de Lyon in Die Frau ohne Schatten (Die Amme). Lindsay returned to The Metropolitan Opera for The Magic Flute (Third Lady), Deutsche Opera Berlin for Der Ring des Nibelungen (Erda/Die erste Norn/Flosshilde), Bayerische Staatsoper for Le Grand Macabre (Mescalina), and the Canadian Opera Company for Götterdämmerung (Die erste Norn) and The Nightingale (Death), both conducted by music director Johannes Debus.
On the concert stage, Lindsay debuted with The American Symphony Orchestra for Dvořák’s Requiem at Carnegie Hall, Netherlands Radio Orchestra for John Adams’ The Gospel According to the Other Mary (Martha), the Erie Philharmonic in Mahler’s Symphony No. 3, the South Dakota Symphony for Verdi Messa da requiem and Candide (Old Lady), and the Casals Festival for a concert version of Tristan und Isolde (Brangäne).
Lindsay made her debut at The Metropolitan Opera in the new LePage production of Der Ring des Nibelungen (Rossweiße). While a member of the Ensemble at Staatsoper Stuttgart, she performed in Falstaff (Dame Quickly), Eugene Onegin (Olga), the world premiere of Ayres’ Peter Pan (Tiger Lily), Der fliegende Holländer (Mary), Die Zauberflöte (Dritte Dame), and Götterdämmerung (Die erste Norn/ Flosshilde).
Lindsay has participated in artist training programs at Pittsburgh Opera and Opera Theatre of Saint Louis, was a National Semifinalist in The Metropolitan Opera National Council Auditions and can be seen on their Die Walküre DVD and documentary Wagner’s Dream, as well as on the GRAMMY Award-winning Götterdämmerung CD on Deutsche Grammophon.
SEPTEMBER 2025
