A second year young artist in the Metropolitan Opera’s Lindemann Young Artist Development Program, Mezzo Soprano Megan Esther Grey hails from Iowa and is quickly ________________. The 2019-2020 season marks large milestones for Megan, including her Metropolitan Opera debut as Kate Pinkerton in the Anthony Minghella production of Madama Butterfly and later appearance as 2nd Lady in Julie Taymor’s Magic Flute. In February Ms. Grey will appear in the prestigious Park Armory Recital Series singing Mahler’s Rückert Lieder and selections from Dominick Argento’s Diary of Virginia Woolf. In April, Megan will appear with the Montclair Symphony under the baton of David Chan singing Edward Elgar’s epic Sea Pictures.

Summer 2020 brings Megan’s return to Wolf Trap Opera in a recital under the direction of Steven Blier and a role debut of Carolina, Countess of Kirschstatten in Hans Werner Henze’s Elegy for Young Lovers.

Megan’s summer of 2019 saw rave reviews for her debuts at Wolf Trap Opera as The Drummer in Viktor Ullmann’s Der Kaiser von Atlantis and Hippocratine in Gluck’s L’Île de Merlin. Having sang “impressively and with notable flexibility” (Anne Midgette, Washington Post), she was also praised while she “demonstrated remarkable calm while projecting power as the island’s doctor… and she showed some good moves coming down the slide” (Opera Gene.)

Megan has also made a mark on the West Coast as a participant in the prestigious Merola Opera Program in summer of 2018. Her voice described as “potent and precise” (SFChronicle), she was also lauded for her performances in the Schwabacher Summer Series, especially as her portrayal of Erika from Samuel Barber’s “Vanessa.”

“The rich-toned mezzo-soprano Megan (Esther) Grey had already shown her merits in the opening scene of Barber’s ‘Vanessa,’ shaping the aria ‘Must the winter come so soon’ with a tender expressivity that would have been harder to come by in isolation” (SFGate.)

“Then, against all the preceding histrionics, Grey created a hush in the hall with a sensitive, affecting performance of the aria ‘Must the winter come so soon?’” (San Francisco Chronicle.)