Praised for her “radiant soprano” and “outstanding dramatic presence,” Meredith Lustig has established herself as an artist of great versatility and sophistication. Favorite roles include: Blanche DuBois/A Streetcar Named Desire (Opera Company Middlebury), Gianetta/L’Elisir D’Amore, Cephisia/Orpheus (New York City Opera), Laurie/Oklahoma (Mac-Hayden Theater), Eurydice/Orpheus in the Underworld (Virginia Opera), Fiona/Brigadoon (Gulfshore Opera), Megan/The Whole Truth (American Modern Ensemble), Musetta/La Boheme (Syracuse Opera). Papagena/Magic Flute, Zina/Dark Sisters, Carolina/Il Matrimonio Segreto, Clorinda/Cenerentola (Pittsburgh Opera); Daisy/The Great Gatsby (Aspen Opera Theater), and Bella/An American Tragedy (Glimmerglass). She has held residence at the Ravinia Steans Institute, Caramoor, New York Festival of Song, Town Hall Theatre, Glimmerglass, and Pittsburgh Opera. Symphonic appearances include Candide (Philadelphia Orchestra), Carmina Burana (Erie Philharmonic), Serenade to Music (Chicago Symphony), Bernstein’s Mass (Ravinia Festival, Philadelphia Orchestra), and as a headliner for the Dallas Symphony, Detroit Symphony, Steamboat Springs Symphony, The Virginia Arts Festival and Canada’s Centre National Des Arts. Television appearances include Apple TV’s Dickenson, The Late Show with Stephen Colbert and PBS Great Performances’ presentation of Mass under the baton of Marin Alsop. A passionate music educator, Ms. Lustig has appeared in educational recitals and masterclasses with Rob Fischer and enjoys helping students of all ages find joy in singing.
Since his 2016 debut with New York City Opera in a “strong, deftly conveyed” (NYTimes) performance of Edward Hopper in Hopper’s Wife, baritone Justin Ryan has risen as a prominent interpreter of American leading men with companies across the United States, notably in The Consul at Chicago Opera Theater as a “remarkable, powerful John Sorel” (Stage and Cinema) opposite Patricia Racette, and in the American premiere of Philip Glass’s grand opera The Perfect American at Long Beach Opera and Chicago Opera Theatre, where Ryan’s “touching” portrait of Walt Disney (Chicago Tribune) was met with a wave of acclaim, critics extolling his abundant “vocal and physical charisma and dramatic range” (LA Times), and declaring, “Ryan has a clear and commanding voice, and the ability to grab your attention and hold on to it” (Hyde Park Herald). Most recently, as the first mate Starbuck in Jake Heggie’s Moby-Dick at Opera San Jose, Ryan “cut a commanding figure” (San Francisco Chronicle) who “expressed the sailor’s fears and longing with touching clarity” (San Francisco Examiner) in an “ample and often lustrous voice” (Operawire).