Photo (c) Steven Pisano/New York Times

Christine Lyons has been hailed a “true virtuosa” by Broadway World, identified as a “revelation” by Gay City News, and praised for having “strength and a fearless attack at both ends of her voice” by Bachtrak. In the 2019-20 season, she sings Cio-Cio San in Puccini’s Madama Butterfly with Baltimore Concert Opera, sings Violetta in La Traviata, Leonora in Il Trovatore and Gilda in Rigoletto in “Viva Verdi” with Penn Square Music Festival, and returns to “The Me I Want to Sing,” bringing excerpts of the title role in Tosca and Leonora in Il Trovatore to the National Portrait Gallery in Washington D.C. She makes concert appearances with Annapolis Opera, Maryland Symphony Orchestra and at the Tuscon Desert Song Festival with Ravinia’s Steans Music Institute on Tour.

Quickly garnering attention for her interpretations of bel canto heroines, Lyons has recently sung Bellini’s Norma with Winter Opera Saint Louis, the title role of Bellini’s La Straniera with Teatro Nuovo at Lincoln Center, Amenaide in Rossini’s Tancredi rifatto with Teatro Nuovo, Adina in Donizetti’s L’Elisir d’amore with City Lyric Opera, Giulietta in Bellini’s I Capuleti e i Montecchi with Saltworks Opera, and excerpts of the title role in Donizetti’s Anna Bolena with Opera Naples.




Norma was Maria Callas’ favorite showcase for her legendary voice. Renata Scotto once called the role of Norma “the Everest of opera.” Well, Soprano Christine Lyons climbs that peak with banners flying. She’s a true virtuosa, dazzling us with her mastery of all those Bel Canto coloratura fireworks- all the runs, trills and staccato apreggios and cadenzas that decorate the long, free-ranging melody lines.
— Broadway World
Christine Lyons was a magnificent Alaide her warm, creamy soprano at its very best when challenged by Bellini’s seemingly endless melodies. Intense and soulful, this was a tragic “Straniera” from the start, her final aria “Sono all’ara” crowning a performance of real stature.”
— Musical America Worldwide
Lyons’ quick vibrato and complex timbre brought greater emotional immediacy to Amenaide’s conflict between duty and desire…. [she] handled the florid passages with musicianship and flair.
— Gay City News
A superior performance by soprano Christine Lyons dominates Winter Opera Saint Louis’ strong rendition of Vincenzo Bellini’s bel canto opera, Norma. Lyons, in her Winter Opera debut, shows considerable power in her lush, lingering soprano, which elevates the production considerably. Lyons’ acting is polished as well, making Norma a compelling and tragic figure, a formidable force to be reckoned with by Pollione, Oroveso and Adalgisa at different times in the two-act, three-hour presentation.
— Ladue News
[Norma] was led by soprano Christine Lyons, who looked and sounded exquisite in the title role. She has the presence and dramatic conviction for the priestess, and excellent technique; she held the audience’s attention and sympathy.
— St. Louis Today
In the lead role soprano, Christine Lyons delivered as Alaide…a sturdy performance full of great intensity. She possesses a very full sound with a fast vibrato that moves well from top to bottom with great agility in the coloratura scattered around the piece. She also often utilized a glorious portamento to connect higher notes with those residing in lower registers. In some of her finest moments, her vocal qualities bore a striking similarity to that of Sondra Radvanovsky in not only its colors but the phrasing of the portamenti... the opera’s final moments, with its devilish vocal ascensions to a high D flat [were] the most impressive moments of her vocal output. Here she let her voice soar to its maximum potential, expressing the fury and madness that Alaide feels in this moment.
— Operawire
The mysterious Alaide was soprano Christine Lyons, with strength and fearless attack at both ends of her voice... her final scene created an uproar.
— Bachtrak
The soprano Christine Lyons, as Alaide, the melancholy stranger of the title of Bellini’s opera, dealt capably with the bursts of fury that end each act, her voice blossoming down into its depths.
— New York Times
The Amenaide was Christine Lyons, displaying a generously scaled lyric soprano, her rapid vibrato adding lushness to the tone.
— Opera News
A nuanced and richly textured performance, Christine Lyons as Giulietta was spellbinding, highlighting her range and interpretation, singing the aria with rosy, agile coloratura. In short, Lyons is exquisite.
— Cape Charles Mirror

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