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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.

The 2016-2017 season brings two major debuts with English National Opera for Donna Anna in Don Giovanni and The Garsington Festival for the Countess in Le nozze di Figaro, as well as an appearance with the Seiji Ozawa Music Academy in Japan as Micaela in Carmen. In concert she joins the St. Louis Symphony and music director David Robertson for Mozart’s Requiem. Future seasons include a debut with San Diego Opera.

Last 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, 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.

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