Lindsay begins the 23/24 season with a role and house debut at Opéra National de Lyon in Die Frau ohne Schatten (Die Amme) followed by returns to The Metropolitan Opera for The Magic Flute (Third Lady), Deutsche Opera Berlin for Der Ring des Nibelungen (Erda/Die erste Norn/Flosshilde), and Bayerische Staatsoper for a new production of Le Grand Macabre (Mescalina). On the concert stage she debuts with the Erie Philharmonic in Mahler’s Symphony No. 3.

Last season she returned to the Ensemble of the Bayeriche Staatsoper for revivals of La Fanciulla del West, Elektra, Die Zauberflöte, Die Fledermaus, Eugene Onegin, Die Teufel von Loudun, and Rusalka. Additional performances included a return to The Dallas Opera for their new production of Das Rheingold (Erda) and a debut at the Bard Music Festival for Henry VII (Anne Boleyn). In her first season at the Bayerische Staatsoper, Lindsay was seen in new productions of Das schlaue Füchslein, Les Troyens, and Die Teufel von Loudun and revivals of Il trittico, Falstaff, and Die Zauberflöte. She returned to The Dallas Opera for The Golden Cockerel (Amelfa), The Metropolitan Opera for Suor Angelica (La zia principessa & La Badessa) and Gianni Schicchi (Ciesca), Washington National Opera for Eugene Onegin (Olga), a debut at Madison Opera in Rusalka (Ježibaba), a return the Opera Theatre of Saint Louis for Rigoletto (Maddalena), and a debut at the Seiji Ozawa Matsumoto Festival in Eugene Onegin (Olga).

Ms. Ammann made her debut at the Lyric Opera of Chicago in David Pountney’s new production of Der Ring des Nibelungen (Flosshilde/Schwertleite). She made her debuts at Opera Omaha in Falstaff (Quickly), The Dallas Opera in Cuomo’s Arjuna’s Dilemma, Central City Opera in Il trovatore (Azucena), Washington National Opera in Der Ring des Nibelungen (Erda/Die erste Norn/Schwertleite) directed by Francesca Zambello. Other debuts included Grand Théâtre de Genève in Die Zauberflöte (Dritte Dame), North Carolina Opera in Madama Butterfly (Suzuki), Aalto-Musiktheater Essen in a new production of Rusalka (Ježibaba), and the Canadian Opera Company in Die Walküre (Schwertleite). She returned to the COC for Götterdämmerung (Die erste Norn) and The Nightingale (Death), both conducted by music director Johannes Debus. In concert, she sang the Verdi Messa da requiem and Candide (Old Lady) with the South Dakota Symphony, John Adams’ The Gospel According to the Other Mary (Martha) with the Netherlands Radio Orchestra, 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). Other performances include Alto Soloist in a fully staged production of Messiah with the Pittsburgh Symphony, Le donne curiose (Beatrice) with Wolf Trap Opera Company and Sweeney Todd (Beggar Woman) with the National Symphony Orchestra.

While a Resident Artist at Pittsburgh Opera, Lindsay was seen in Lucia di Lammermoor (Alisa), Rinaldo (Goffredo), Eugene Onegin (Olga), Falstaff (Dame Quickly), and the title role in The Rape of Lucretia. As a Gerdine Young Artist the Opera Theatre of Saint Louis, she was seen in Eugene Onegin (Olga), Madame Butterfly (Kate Pinkerton), and Salome (The Page of Herodias). Lindsay 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.