Another lovely conversation with an influential artist.

Canadian soprano Meghan Lindsay completed her undergraduate training at the Glenn Gould School. She then went to Amsterdam to complete a training residency Young Artist Program, which is frequent in opera.
She is also a busy lady outside of her work as an artist. She is completing her PhD in Cultural Studies at Queen’s University, where she’s done a lot of work on audience research, particularly looking at the social impact of the arts and the performing arts. Meghan teaches at Queen’s and at Carleton University in the Master’s Non-Profit Leadership and Philanthropy.

Her Master’s program is through the school’s public policy in Philanthropy and non-profit leadership, which examines how NGOs and non-profit organizations function within society's broader context.

This month, Meghan appears as Galatea at Toronto’s Elgin Theatre in Handel’s ‘Acis and Galatea’ staged by Opera Atelier.

From the Atelier website: “The story of the water nymph Galatea and her love for the Arcadian shepherd Acis comes from Ovid’s ‘Metamorphoses.’ It is full of all of the sensuality and humour we associate with 18th-century storytelling at its very best. The production is sung in English and features some of Handel’s most ravishing music for singing and dancing; Acis and Galatea is the perfect introduction to opera and ballet for the entire family.” Meghan added that Acis is warned not to fall in love with the water nymph, as it will not end well, but he ignores that edict. Evil characters want to steal Galatea away.

Experiencing operatic art continues to fascinate me, particularly the Baroque era, which Opera Atelier focuses on. Meghan says it’s a gestural language. The artists perform many stage gestures that take a long time to learn and internalize, and Marshall and Jeannette work hard to ensure the artists feel comfortable with these gestures. While I don’t consider myself an expert, engaging in conversations with its artists helps me learn more. Meghan's insights have certainly contributed to that understanding.

When I asked why opera still intrigues her and keeps her focused on the discipline, Meghan said it’s a question she asks herself daily. Working in the live performing arts (opera or musical theatre) is a lifestyle:

“I absolutely love that you come into a room, and you get together with people you haven’t seen in a while, some whom you don’t even know, and you create a world. You do that with trust and care. From the experience as a woman, I love that embodied perspective of being so fully in my body, so fully in the power and privilege that comes with making these sounds and delivering these characters with our own being.”

The artistic lifestyle can be challenging, especially with a child at home. Meghan and her partner have a young daughter, but she loves this lifestyle nonetheless. As a woman and an artist, she emphasizes how grateful she feels for the privilege of bringing characters to life and sharing that experience with an audience, even if only for a short time:

“It’s magic. We get to create magic.”

She speaks glowingly of Atelier’s Co-Artistic Directors, Marshall Pynkoski and Jeannette Lajeunesse Zingg. Lindsay compares the company to a troupe. Atelier typically invites artists who have worked with them. Meghan has worked with Atelier for as long as she has worked professionally. She paused momentarily to think about it and finally said she’s worked with the company for twelve years. When she finished school in her early twenties, she moved to Holland with full anticipation that she would permanently move to Europe. Marshall and Jeannette gave Lindsay her first professional contract with ‘Don Giovanni.’ She laughed when she recalled the moment that she was a green, excited, and hungry singer.

Lindsay believes that Opera Atelier is a tremendous gift to the artistic community. She hopes that young people will be encouraged to pursue careers in the arts and actively contribute to the community instead of shying away from it. Students from across Toronto come to Atelier during the day to learn about various aspects of operatic stagecraft. For example, there are demonstrations of stage combat. Some singers also perform in the classes to show young people that the operatic art form is not something to fear.

Meghan wants to invest time in engaging with youth to discuss the benefits of specific performing disciplines, such as theatre, dance, and opera. She believes that artists may never fully understand the impact their work will have, especially on young people. Each artistic expression—whether in dance, opera, or theatre—is highly subjective and depends on the individual experiences, perspectives, and emotional states of the young person engaging with the art.

It's also important to look at the space and venue where the artistic discipline occurs. How will the space receive that individual? How will that piece of art reach the young audience individually? Meghan doesn’t know if she can speak to this importance at large.

What she can and does say:

“From my perspective, when I was a young person attending pieces of art and witnessing rehearsals and other people creating, there is a reminder of the magic in storytelling. The stage is sometimes that space where one can say and do things that wouldn’t fit into the tapestry of day-to-day colloquial life.”

It’s important to remind all audience members, including the young members, that there is still space for creation, play, and release and that everyone can be in their bodies.

Meghan then spoke about her four-year-old daughter, who comes to her performances and sits backstage. It must be a treat for the crew backstage to watch this little girl listen to her mother sing and then move to the music.

Lindsay believes that attending opera can have an instrumental function. She acknowledges that, yes, there is an educational component.

She believes there’s more.

There’s something remarkable that occurs when young people feel welcome to bear witness to the celebration of the artistic forms of opera, dance, and theatre. Youth experience pleasure and satisfaction by taking a moment out of the wildness or chaos of their lives to be in a ‘prescribed’ moment, even to practice what it feels like in the moment.

As we began to wind down our conversation, I asked her what advice she would give to young people who may want to pursue a career in the arts. Meghan paused momentarily to consider her response:

“First, the myth that you are just one thing is a myth. You can be a myriad of different versions of self and also of artist over the course of your career.”

Meghan is performing all the time. She also co-runs an arts organization. She’s finishing her PhD and teaches on faculty at two universities. She believes that artists can have a myriad of outputs because they are not focused on one or the other. It’s because the landscape is such that the young person entering an artistic career will have to figure out how to piece together your work between contracts. The young person will also have to figure how he/she will navigate a career.

Lindsay’s most significant tip to young people considering a career in the arts?

You don’t have to follow a linear path in your career; you can explore various roles. While many assume there’s a time constraint in advancing your career, that’s not necessarily true. It’s important to find mentors and champions who can support you. Although an arts career can be competitive, it doesn’t have to be. Connecting with others in the industry who can introduce you to artistic directors, teachers, and coaches is incredibly valuable.

Meghan, who champions artists and considers herself a leader in this regard, believes that experienced artists are eager to support the next generation. While leaders must prioritize their well-being and that of their families, she emphasizes that helping other artists reach their potential is a significant commitment and an incredibly rewarding experience.

‘Acis and Galatea’ staged by Opera Atelier, runs October 24-27, 2025, at Toronto’s Elgin Theatre, 189 Yonge Street.

To learn more about Opera Atelier: visit www.operaatelier.com.

For tickets to ‘Acis and Galatea’ and to learn more about the production, visit: https://www.operaatelier.com/shows/acis-and-galatea/

To learn more about Meghan Lindsay, visit her website: www.meghanlindsay.com.