Photo (c) Steven Pisano/New York Times

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

Quickly garnering critical acclaim for her interpretations of bel canto heroines, Lyons has sung Bellini’s Norma with Winter Opera Saint Louis, the title role in 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.

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Reviews

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 (Norma)
Christine Lyons is a celebrated soprano rapidly making a name for herself in opera houses across the globe. Last Friday night, she made her debut as Cio-Cio San in “Madama Butterfly,” and what a debut it was. She was as lovely as she was talented, and that is saying a lot. A truly gifted vocalist, Ms. Lyons is well on her way to the exalted status of Diva in the opera world if she continues on the path she’s on. Her Cio-Cio San displayed an impressive range of emotions, all of them personified by her soaring soprano.
— Maryland Theater Guide (Madama Butterfly)
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 (La Straniera)
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 (Tancredi)
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)
[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 (Norma)
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 (La Straniera)
One warmed to Christine Lyons’s potent soprano in the course of her dramatically charged portrayal of Alaide; Lyons excelled in her blistering final cabaletta in which she, like a Donizetti heroine headed for the block, curses fate and welcomes death.
— Opera Magazine (La Straniera)
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 (La Straniera)
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 (La Straniera)
[Lyons] is a natural communicator with an individual soprano sound — a lush timbre overlaid with shimmering silvery overtones. A fast but even vibrato runs through her voice like a current of electricity.
— Gay City News (La Straniera)
The Amenaide was Christine Lyons, displaying a generously scaled lyric soprano, her rapid vibrato adding lushness to the tone.
— Opera News (Tancredi)
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 (I Capuleti e i Montecchi)

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