Lindsay Ammann
Erda, Wagner’s Ring Cycle
Washington National Opera 2016
What a deep, profound voice this young singer has. Barely 30 and slight of build, Ms. Ammann possesses a dark, mysterious, hypnotic instrument whose power has only just begun to build, and it was gratifying to experience its appropriately primal depth in this production. - Communities Digital News LLC

Lindsay Ammann sang vividly as Erda, portrayed in 2006 as a Native American and now modified with a dash of Goth lite. - The Washington Post

Lindsay Ammann as Erda unleashed a striking, baritonal lower register. - The Washington Post

Lindsay Ammann’s appearance as Erda, Earth Mother, Native American style, brought us lovely, deep, stilling tones. In this environmental reading, her role is crucial, and Ammann weighted it with suitable gravitas. - bachtrack

Lindsay Ammann’s deep contralto was a fitting vessel for the embodiment of female wisdom... - bachtrack

Contralto Lindsay Ammann, who is to appear in a variety of roles throughout this Ring, made a strong impression, bringing a gorgeous, rounded sound to Erda’s music. - parterre box

Contralto Lindsay Ammann thrilled again, adorning Erda’s music with specatular low notes. - parterre box
Suzuki, Madama Butterfly
North Carolina Opera 2015
"She is joined by contralto Lindsay Ammann as Suzuki, an effervescent and often humorous maid who tries over and over to tell Butterfly that the young American will never return; but Butterfly doesn’t listen. Though Suzuki appears to be a nag, Ammann’s mannerisms reveal her love for her mistress. She shares Butterfly’s heartbreak, as much as she shares her love for her young son. - Triangle Arts and Entertainment

North Carolina Opera's Madama Butterfly had in contralto Lindsay Ammann a Suzuki not just capable of singing the rôle—a trait more precious than might be supposed—but also unusually adept at being not merely a companion but a genuine comfort and confidante for her Butterfly. She was the epitome of nervous energy in Act One, rattling through 'Sorride Vostro Onore? Il riso è frutto e fiore' with girlish elation. She voiced 'Ecco! Son giunte al sommo del pendio' beguilingly. Suzuki's prayer at the start of Act Two, 'E Izaghi ed Izanami, Sarundasico e Kami,' received from Ammann firm, focused tones, and there was compassion even in her stark 'Mai non s'è udito di straniero marito che sia tornato al nido,' reminding Cio-Cio San that foreign husbands who return to their distant wives are an unknown species. The contralto's 'Vespa! Rospo maledetto!' was Wagnerian in scope, her top Fs and G♭s flashing like lightning bolts. In Act Three, Ammann's declamation of 'Già il sole!' was a crestfallen acknowledgement that Suzuki's fears were well-founded, and she sang 'Come una mosca prigioniera l'ali batte il piccolo cuor!' heartbreakingly. Ammann projected notes in chest register of which a baritone would have been proud, and she portrayed an animated, poignantly sisterly Suzuki. - Voix des Arts

Lindsay Ammann’s focused, warm mezzo was perfect for Suzuki, Butterfly’s maid, and she acted the part’s fierce devotion superbly. - The News & Observer
Soloist, Tristan und Isolde Act 2 (in concert)
Casals Festival Puerto Rico 2013
"En la primera escena Tiihonen quedó opacada por la espléndida Brangania de Lindsay Ammann, una joven contralto de carismática personalidad y potente voz....."

"Tiihonen In the first scene was overshadowed by the splendid Brangäne Lindsay Ammann, a young contralto charismatic personality and powerful voice...." - elnuevodia.com
Soloist, Messiah
Pittsburgh Symphony Orchestra 2011
"The vocal soloists were well matched. The one who impressed most on second hearing was Ms. Ammann, with a rich mezzo sonority..." - The New York Times
Beatrice, Le Donne Curiose
Wolf Trap Opera 2011
"That wife, Beatrice, was portrayed with vocal and comedic flourish by contralto Lindsay Ammann." – Opera News

"...as Beatrice, the incredible, burnished quality of Lindsay Ammann’s profound contralto as a genuine revelation." – The Washington Times

"Contralto Lindsay Ammann is an elegantly calm Beatrice, wife of Kenneth Kellogg’s Ottavio, who looks down on her from his intimidating height and stonewalls her questions. Ammann has a big, luscious voice, beautifully under control" – The Washington Post
Rossweisse, Die Walküre
The Metropolitan Opera 2011
"Her sister Valkyries sounded fresh and robust and along with Kaufmann and Blythe, they were the vocal highlights of the production." – The Star-Ledger
Goffredo, Rinaldo
Pittsburgh Opera 2011
"Lindsay Ammann a full-voiced and Romantic Goffredo." – Pittsburgh Post-Gazette
Alisa, Lucia di Lammermoor
Pittsburgh Opera 2010
"Lindsay Ammann had a small role as the nurse Alisa but again showed a rich voice with real potential." – Pittsburgh Post-Gazette
Olga, Eugene Onegin
Opera Theatre of Saint Louis 2010
"Three excellent mezzo-sopranos filled out the cast — rich-voiced Lindsay Ammann, a former Gerdine Young Artist, as Tatiana's sister, Olga; Gloria Parker as their cheerful, elegant mother; and Susan Shafer in the role of Filippyevna, the family's old nurse." – Opera News

"As Olga, Lindsay Ammann excelled in her low register." – The Wall Street Journal
Marcellina, Le Nozze di Figaro
Pittsburgh Opera 2010
"Lindsay Ammann's Marcellina had the contralto power to account for the fact that she will make her debut as a Valkyrie next season at the Met." – Opera News

Ms. Ammann projected an apt, cartoonish visage as Marcellina. – Pittsburgh Post-Gazette
Opera contralto to make debut at the Met
Pittsburgh Post-Gazette, Friday, April 16, 2010
Contralto returns with a principal role
St Louis Post-Dispatch (MO), May 23, 2010
Lucretia, The Rape of Lucretia
Pittsburgh Opera 2010
"Lindsay Ammann’s sumptuous contralto sound and statuesque persona made this Lucretia a force to be dealt with. She was strong and alluring, and in Rigazzi’s staging she did not submit easily to the youthful, mellifluous Tarquinius of Dan Kempson. Later, she used gesture and nuance skillfully to convey a gamut of emotions from hysteria (on "Give him the orchid") to controlled desperation (in the "Flowers" passage") to the highest grief in her confession." – Opera News

"Lucretia is Lindsay Ammann, a 25-year-old mezzo whose voice is already a force of nature, capable of sinister low chest tones and robust high notes that can express a gamut of emotions. Her lament in the "Flowers" aria is painfully affecting, followed by a subtly nuanced declamation (on a repeated low B for several lines) of her ravishment." – Pittsburgh Post-Gazette

"Mezzo-soprano Lindsay Ammann gave a brilliant portrayal of Lucretia, magnificently sung and acted with remarkable projection of inner strength and dignity. That she sings with such focus and security from top to bottom at age 25, when her voice is still developing, augurs a major career for this artist.

The opera's most haunting moments are those leading to Lucretia's suicide. She's been forgiven by her husband, but Lucretia is a deeply honorable person. Her honor comes from within her own spirit and that's been shattered. Nothing external, even her husband, can heal the shame and pain she feels. Ammann's portrayal conveys this, which is why her performance is a big-league achievement that's not to be missed." – Pittsburgh Tribune-Review
Dame Quickly, Falstaff
Pittsburgh Opera 2009
"Lindsay Ammann's Dame Quickly had suitable spunk." – Opera News

"...and especially the expressive Lindsay Ammann (Mistress Quickly)"– Pittsburgh Post-Gazette
Olga, Eugene Onegin
Pittsburgh Opera 2009
"She was quickly joined in the opening ensemble by the worthy Lindsay Ammann as her sister, Olga. Ammann's performance, including her own aria, was especially impressive because she is a first-year resident artist of Pittsburgh Opera." – Pittsburgh Tribune-Review
Herodias's Page, Salome
Opera Theatre of Saint Louis 2009
"Gerdine Young Artists Lindsay Ammann (as Herodias's Page), Matthew Anchel (First Soldier) and Joshua Kohl (First Jew) were standouts." – Opera News

"As the Page, smitten with Narraboth, Lindsay Ammann displayed a clear mezzo voice and matching diction." – STLtoday.com
Kate Pinkerton, Madama Butterfly
Opera Theatre of Saint Louis 2008
"This season's repertoire offered few opportunities to feature OTSL's fine crop of Gerdine Young Artists, but mezzo Lindsay Ammann was an impressive Kate Pinkerton." – Opera News