Praised as being equal to “the best Mozart interpreters anywhere in the world”, Canadian soprano Meghan Lindsay continues a diverse practice as a performer, creator, and researcher. During the 2019-2020 season, she performed in a variety of repertoire highlighted by Handel’s Dixit Dominus at the Music and Beyond Festival, Saffi in Strauss’ Der Zigeunerbaron for Toronto Operetta Theatre, Donna Anna in Don Giovanni with Opera Atelier and performed Mary Magdalene in Opera Atelier’s film Handel’s La resurezzione.  In the wake of COVID-19, she expanded her creative practice to collaborate with composers Krists Auznieks and Luis Fernando Amaya on two new chamber music commissions. She premiers the role of Eve in Edwin Huizinga and Chris Bagan’s Angel October 2021 and will be recording a filmed version of Frauenliebe und Leben with choreographer Jennifer Nichols for world premiere 2022. In the 2018/19 season, she appeared as Ilia in Idomeneo (Opera Atelier), Paride in Paride ed Elena (Odyssey Opera), Sandrina in La Finta Giardiniera (Opera Nova Scotia), Arethuze/Hunter and Galatée in a double bill of Actéon and Pygmalion (Opera Atelier/Royal Opera Versailles/ Harris Theater Chicago). An artist eager to stretch the bounds live theatre, Ms Lindsay co-created and performed in an installation for the Contact Festival/Division Gallery with visual artist Alex McLeod, is co-creating a piece of chamber music with Latvian composer Krists Auznieks, is recording a digital album of Schumann’s Frauenliebe und Leben, and is involved in the development of an integrative piece of theatre with Montreal Playwright’s Workshop.  She is a frequent performer with Canada’s Opera Atelier, having performed the title role in Alcina, Amour in Gluck’s Orphée et Eurydice, Giunia in the Canadian premiere of Mozart’s Lucio Silla, Belinda in Dido and Aeneas, and Minerva in Il ritorno d’ulisse in patria. An avid interpreter of French Baroque repertoire, The Royal Opera House at the Palace of Versailles was the scene for her performances of Sidonie/ Nymphe des Eaux in Lully’s Armide, Vénus in Persée, and Nérine in Charpentier’s Medée. Meghan Lindsay made her recording debut with the Grammy-nominated early music company, Ars Lyrica, in a recording and ‘modern world’ premiere of Scarlatti’s La Sposa dei Cantici. Equally at home in Romantic repertoire, she has performed the title role of Luisa Miller with Opera Nova Scotia, Mimi in La bohème with The Northern Lights Festival, and Agathe in Der Freischütz. She made her U.S. operatic debut with Opera Columbus as Donna Anna in Don Giovanni and performed the Sacerdotessa in Aida and Sidonie/Nymphe des Eaux in Lully’s Armide with the Glimmerglass Festival.  As a young artist with Opera Studio Nederland, she made her European debut as Euridice in Pierre Audi’s production of Monteverdi’s L’Orfeo and her Concertgebouw debut singing Donna Anna in Don Giovanni. She performed at Carnegie Hall as a member of The Song Continues workshop with the Weil Institute and has presented recitals internationally including a concert tour of China, Barrie’s Colours of Music, the Creemore Music Festival, the Houston Early Music Festival, and Holland’s Uitmarkt. Awards, prizes, and competitions include the Brian Law Competition, the Queen Elisabeth Competition and the Klaudia Taev Competition. She is an alumnus of the Glimmerglass Festival Young Artist Program; The Toronto Summer Music Festival; the International Vocal Arts Institute; the Daniel Ferro Vocal Program; Opera Studio Nederland; and of The Royal Conservatory of Music’s Glenn Gould School, where she completed her Bachelor of Music and participated in the Artist Diploma Program.  Meghan is the Co-Founder of New Art/New Media- a collective of Canadian artists dedicated to interdisciplinary collaboration. She is the Research Lead with Willendorf Cultural Planning, the Assistant-Editor Newest Magazine, a researcher with the North American Cultural Diplomacy Initiative, and a PhD Candidate in Cultural Studies at Queen’s University, where her research investigates unmarked settler colonialisms in arts impact discourse. She is a researcher on ‘Being Together’ a SSHRC-funded project examining perspectives of ‘liveness’ and ‘realness’ in contemporary theatre audience and is a Research Fellow at Agnes where she examines anti-oppressive methodologies in museological strategic planning. She holds a Master’s Degree in Nonprofit Leadership from Carleton University, has both moderated and curated academic panels on Canadian arts practice, and is an OGS recipient for her research on classical music organizations in North America. Ms Lindsay is a proud recipient of the Ottawa Arts Council Career Award for artistic achievement.