Meagan Martin

Hailed by the Los Angeles Times as a “great glory” and recognized for her “fine coloratura technique” (Opera) and “keen sense of drama” (Triangle Guitar Society News), Meagan Martin, mezzo-soprano, creates compelling portrayals at the intersection of music, theater, and dance.

The 25/26 season sees Meagan at Pacific Opera Project in two roles: Lady Pamela in Fra Diavolo and Cinderella in Cinderella Story. She appears as alto soloist for Pergolesi’s Stabat Mater under the baton of James Conlon in a memorial concert for beloved LA Opera Concertmaster Roberto Cani and returns to LA Opera Connects for German Opera Tales and The Da Camera Society for an all-Schubert program with pianist Victoria Kirsch. She also makes her debut with Channel Islands Chamber Orchestra and voices/LA.

Her 24/25 season highlights included one of the title roles in The Three Women of Jerusalem for LA Opera’s annual community opera (James Conlon, conductor; Eli Villanueva, director); alto soloist in Pacific Opera Project’s Messiah (Zach Neufeld, music director); her debut with The Da Camera Society for Schumann’s Frauenliebe und -leben with pianist David Kaplan; and the featured mezzo roles in LA Opera Connects’ in-school opera tours.

Her 23/24 season featured appearances at Maverick Chamber Music Festival, Petrer Guitar Festival, Triangle Guitar Society, and Brightwork New Music's Tuesdays @ MonkSpace. She reprised Rosina in Pacific Opera Project's The Barber of Seville at The Ford, for which she was recognized for her "cultured tone teeming with wit" (San Francisco Classical Voice) and "vocal runs with an effortless beauty" (Stage & Cinema). She made her debut with La Jolla Symphony and Chorus for the alto solos in Handel's Messiah and appeared with Long Beach Opera for its LBO: On Display series as the title role in a workshop of Shelley Washington and Lisa Teasley's new opera, NELL.

Enthusiastic about new music, Meagan created the title role in the world premiere of Lucero and Gaspar de Alba’s Juana; commissioned and sang the world premieres of two evocative song cycles based on Jane Austen heroines (Aferdian/Martin Koch); and appeared on a studio recording of 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 Grgić.

Meagan completed her doctoral and master’s studies at UCLA’s Herb Alpert School of Music under the mentorship of baritone Vladimir Chernov and director Peter Kazaras. She also trained at the Music Academy of the West, Houston Grand Opera’s Young Artists Vocal Academy, Teatro Nuovo, Gstaad Vocal Academy (under the guidance of Silvana Bazzoni Bartoli), and Festival Internacional de Panticosa’s vocal masterclass series with Teresa Berganza. She completed her bachelor’s degree in German at UCLA, graduating summa cum laude, while studying voice with Renee Sousa.

Additional performance highlights include the alto soloist in Crumb’s Night of the Four Moons; Antiope in Vivaldi’s Ercole su’l Termodonte; a Bach recital tour of Austria, Croatia, Italy, Slovenia, and Spain; and the title roles in Handel’s Amadigi, Massenet’s Cendrillon, Bolcom’s Lucrezia, Moreno Torroba’s Luisa Fernanda, and Brook's/Bizet’s The Tragedy of Carmen.