Christine Lyons is a critically acclaimed operatic soprano. Hailed a “true virtuosa” (Broadway World), she has been praised for her “power and poise” (Classical Voice America), for her “voice rich in nuances” (Pro Opera), her “solid coloratura and legato” (Opera News), and for delivering performances with “presence and dramatic conviction” (St. Louis Today). 

 

     In 2023-24, she joins San Francisco Opera, covering the role of Leonora in Verdi’s Il Trovatore.  This marks her return to the esteemed institution, following her noteworthy cover of Cleopatra in the world premiere of John Adams’ Antony and Cleopatra in the preceding season—an endeavor that illustrated her exceptional versatility. Steadily gaining recognition for her mastery in the bel canto repertoire, Lyons reprises the role of Alaide in Bellini’s La Straniera and introduces Donizetti’s Lucrezia Borgia into her repertoire with Teatro Nuovo in New York. Lyons then joins OnSite Opera in the role of Lieschen in Bach’s Coffee Cantata, and rounds out the season in a role debut as Puccini’s Tosca with Maryland Lyric Opera.

 

     In the 2022-23 season, Lyons gracefully took the stage with a focus on Donizetti's masterpieces. She showcased her exemplary talent in the title role of Donizetti’s Lucia di Lammermoor with Maryland Opera, earning praise for her compelling performance. She continued to shine as she brought Norina to life in Donizetti’s Don Pasquale, where critics celebrated her as "effortlessly brilliant, vivacious, clever, and enjoying the game!" (Broadway World) and noted that she "decked the hall in secure fioriture" (KDHX). Adding depth to her repertoire, Lyons also brought her artistry to Puccini’s Turandot as Liú with Toledo Opera in Celebrazione del Coro.

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     During the 2021-22 season, Christine Lyons enjoyed a series of successes, highlighted by her debut in the titular role of Handel's Agrippina with Florida Grand Opera. Critics praised her performance, noting her "grace, powerful presence, and rippling soprano" (Palm Beach Arts) and that she brought "a regal bearing and opulent timbre to Handel’s showpiece solos" (South Florida Classical). Displaying her interpretive prowess, Lyons also took on the role of the Governess in Britten’s The Turn of the Screw with IlluminArts Miami. Additionally, Lyons performed in concert with Lyric Fest at The Academy of Vocal Arts contributing to a program of art songs inspired by Emily Dickinson’s poetry, and joined Teatro Nuovo for The Complete Recordings of Giuseppe Verdi. 

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     In the 2020-21 season, she delivered a multifaceted recital for the Gelman Concert Series in partnership with River City Opera in Richmond, Virginia, and performed with Baltimore Concert Opera earning acclaim from critics with her “voice for the ages, a beautiful, soaring instrument” (Maryland Theater Guide). As well she contributed to Bel Canto in 30 Minutes with Teatro Nuovo.

 

     Lyons launched the 2019-20 season with a concert tour, joining the Ravinia Festival Steans Music Institute and gracing stages at Ravinia and the Tucson Desert Song Festival. Her notable engagements of the season include a role debut as Cio-Cio San in Puccini's Madama Butterfly with Baltimore Concert Opera. Orchestral engagements include several performances with Maryland Symphony Orchestra. Further, she was scheduled for a role debut in the title role of Donizetti’s Anna Bolena with dell’Arte Opera Ensemble.

 

     In the 2018-2019 season, Lyons delivered a captivating performance in Bellini’s Norma with Winter Opera St. Louis, earning a nomination for the Outstanding Achievement in Opera award from the St. Louis Theater Circle. Wrapping up the season with poise, she assumed the lead role in Bellini’s La Straniera at Lincoln Center and demonstrated her vocal prowess in Rossini’s Stabat Mater with Teatro Nuovo. Orchestral engagements include several performances of Mozart’s Exsultate, jubilate with Queens Symphony Orchestra and also with St. Veronica Orchestra of New York on Mozart’s birthday. Supported for her interpretive skills, Lyons was presented in recital at the Manhattan School of Music by the Art Song Preservation Society of New York. Later that year, she was privileged to join the prestigious Ravinia Steans Institute as a Fellow, singing in several notable masterclasses and enriching art song programs.

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     In the 2017-18 season she sung Giulietta in Bellini's I Capuleti e i Montecchi with Saltworks Opera, highlighting her “rosy, agile coloratura” (Cape Charles Mirror). As well, she sung Adina in Donizetti’s L’Elisir d’amore with City Lyric Opera, Amenaide in Rossini’s Tancredi with Teatro Nuovo, Micaela in Carmen with Opera Ithaca, Puccini's Suor Angelica with New York Lyric Opera Theater, and Echo in Ariadne auf Naxos with Berkshire Opera Festival. Also that year, Lyons was presented in recital by Vocal Arts DC at the Kennedy Center as a winner in their competition.  

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     Role highlights of earlier seasons include Pamina in Mozart’s Die Zauberflöte with the Amalfi Coast Music Festival, Fiordiligi in Mozart’s Cosí fan tutte with Charleston Symphony Orchestra, Donna Anna in Mozart’s Don Giovanni with Hawaii Performing Arts Festival, and Handel’s Alcina. Concert highlights include performances with Baltimore Concert Opera under the baton of Marin Alsop. 

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     A decorated soprano, Lyons holds the Grand Prize in the Mary Trueman Art Song Vocal Competition in New York and has garnered top awards from the Gerda Lissner Foundation, Vocal Arts DC Discovery Art Song Competition, Opera Columbus Cooper-Bing International Vocal Competition, New York Lyric Opera National Vocal Competition, Rochester International Vocal Competition, The American Prize for Women in Opera Competition, and Washington International Competition. As well, she was the featured artist on Celebrating Our Musical Future with WWFM Classical Radio, and her artistry has been celebrated in esteemed publications such as Opera News, New York Classical Review, Musical America Worldwide, Opera Magazine (London), Bachtrack, and The New York Times. 

 

     Christine Lyons honed her craft at Carnegie Mellon University under the tutelage of Mimi Lerner, at the Mozarteum in Salzburg under the tutelage of Helen Donath and Grace Bumbry, and at Peabody Conservatory under the tutelage of Denyce Graves.