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Meagan Martin


Hailed by the Los Angeles Times as a “great glory,” Meagan Martin, mezzo-soprano, thrives in presentations that range from strictly traditional to wildly unconventional.

Recognized by OPERA Magazine for her “fine coloratura technique,” Meagan has studied with bel canto luminaries Vladimir Chernov, Renee Sousa, Marilyn Horne, Teresa Berganza, and Silvana Bazzoni Bartoli. She has appeared with organizations including Festival Internacional de Panticosa, Steirisches Kammermusikfestival, IMAGO Sloveniae, Gstaad Menuhin Festival, Astoria Music Festival, The Rally Cat, LA Opera Connects, Music Academy of the West, Teatro Nuovo, Gxrlschool, POP, and Opera UCLA, where she completed her doctorate under the mentorship of Vladimir Chernov and director Peter Kazaras. Performance highlights include Rosina in Il barbiere di Siviglia; Fanny Price in Mansfield Park (Dove/Middleton); the alto soloist in George Crumb's Night of the Four Moons; and the title roles in Lucero's Juana, Handel’s Amadigi, Brook’s/Bizet’s The Tragedy of Carmen, Massenet’s Cendrillon, Moreno Torroba’s Luisa Fernanda, and Bolcom’s Lucrezia.

Enthusiastic about new music, Meagan created the title role in the world premiere of Juana (Lucero/Gaspar de Alba); commissioned and sang the world premieres of two song cycles based on Jane Austen heroines (Aferdian/Martin Koch); and recently performed on studio recordings of two works written for her: Elinor & Marianne, a magnificent four-person song cycle inspired by Sense and Sensibility by composer Aferdian and librettist Marella Martin Koch, produced by The Rally Cat, and Rosa Divina, a ravishing song cycle by composer Giovanni Piacentini with texts by Sor Juana Inés de la Cruz and performed with GRAMMY-nominated guitarist Mak Grgic.

Meagan has previously appeared with POP as Rosina in The Barber of Seville, Mercédès in Carmen, Tisbe in La Cenerentola, and in the drive-in double bill of Gluck’s La Corona and Il Parnaso confuso.

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