Praised for her “light, fleet soprano” voice and “soaring, diamantine high notes” (Opera News), GRAMMY and JUNO nominated soprano Megan Chartrand feels equally at home singing early music, art song, chamber music and concert repertoire.
Notable solo performances include Dalila in Handel's Samson with the American Classical Orchestra and Mozart's Requiem with True Concord, both in Alice Tully Hall at Lincoln Center. Chartrand has also sung Mozart's Requiem with the Santa Fe Desert Chorale along side Susan Graham; Bach's St. Matthew and St. John Passions at the Staunton Music Festival; Handel's Crudel Tiranno Amor with The Alberta Baroque Ensemble; Kurt Weil's Seven Deadly Sins at the Kuhmo Chamber music festival in Finland, Haydn's Lord Nelson Mass with the Keene Chorale; Mozart's Mass in C Minor with the Manchester Symphony Orchestra, and Mozart's Exsultate, jubilate with Tucson's St Andrew's Bach Society
Megan sings frequently with many of the most prestigious ensembles in North America including The Choir of Trinity Wall Street, The Clarion Music Society, The American Classical Orchestra, True Concord, The Santa Fe Desert Chorale, Yale Choral Artists, Seraphic Fire, Blue Heron and Ensemble Origo.
Megan graduated with a Masters of Music specializing in early music, oratorio and chamber ensemble performance from the Yale University Institute of Sacred Music and Yale School of Music studying with James Taylor. She also holds a Bachelor of Music from the University of Alberta where she studied with Jolaine Kerley.
"Canadian Megan Chartrand, who performed delicate and commanding coloratura runs in her solo turns and whose soaring, sweet soprano emerged as a singular voice as the choir mourned Christ's death.
"Megan Chartrand tossed off Dalila's music with a light, fleet soprano evoking the great Julianne Baird... Still clad in the red carpet-worthy off-the-shoulder Dalila dress (by Rosemarie Umetsu), Chartrand returned to ace 'Let the Bright Seraphim.' "
"...an aria near the end accompanied by trumpet: in this case, the glittery 'Let the bright seraphim,' beautifully sung here by the soprano Megan Chartrand and trumpeted by the incomparable John Thiessen."
"... it was a joy to hear the clear, highly accomplished singing of the two upper parts: soprano Megan Chartrand, and mezzo-soprano Mireille Lebel. Chartrand’s light, agile voice, with a particularly appealing timbre, was well suited to the part. Given her type of voice, it was not surprising that she managed the virtuoso Rejoice Greatly with ease and remarkably sound rhythm. In fact, rhythmic security was a conspicuous element in her singing throughout. And with her radiant top register, I Know that My Redeemer Liveth came off beautifully."
"Soprano Megan Chartrand proved a true heroine. In addition to singing a rapt “How beautiful are the feet,” she [stepped in] for “But thou dids't not leave his soul,” transposing the aria to the soprano range. Her tone was warm and voluminous, traversing a wide range from strong low notes to a top that was free of strain or pressure."
"Matters rose to an operatic pitch in such confrontations as Cooley’s duet with pure-voiced soprano Megan Chartrand, as his Philistine wife Dalila, 'Traitor/Traitress to love;' ... Switching allegiance, Chartrand, who had been Dalila, returned at the end of the evening to sing cleanly the Isrealite woman's bravura showpiece 'Let the bright seraphim' "
"The soloists in the Schubert provided individual pleasures. Megan Chartrand has a pure, ringing soprano that soars cleanly."
"Dalila, sung here by Megan Chartrand strikingly enveloped in a bright red gown, began with a jauntily insinuating 'With plaintive notes' conducted faster than usual and unfortunately shorn of its da capo. Her bright, agile voice evoked a younger, more playful Dalila than usual. She was joined in a ravishing rendition of the duet 'My faith and truth' by the excellent Sarah Brailey."
The singers’ approach was profoundly evocative without theatrics. He pointed out the “bluster” of one “Fors seullement” variation’s political text, and when the lucent soprano Megan Chartrand and willowy-voiced tenor Jason McStoots sang repeats of the initial material in the song, they did imbue it with a bit of bluster and arrogance, in contrast to Paul Guttry’s long-faced bass line.
"Soprano Megan Chartrand has considerable experience singing Baroque repertoire, and was especially impressive in her solo moments as a Shepherdess and a Grace."
Special mention must be made of ... the vocal soloists, soprano Megan Chartrand, mezzo-soprano Margaret Lias, tenor Charles Blandy, and bass Paul Max Tipton, for their excellent work.
"Marcy Richardson as the Philistine Woman was certainly a match to the excellent Megan Chartland’s Dalila in the lovely echoing duet, 'My faith and truth, O Samson, prove.' "
"Canadian soprano Megan Chartrand, as Eve, brought forth some soaring, diamantine high notes that bloomed in the church's vast spaces."
"The only real dramatic moment came with Esther’s reply to Haman’s plea for mercy. This was a 'vengeance aria' of the highest order, delivered with blood-curdling virtuosity by soprano Megan Chartrand. This and the final chorus provided the major moments of vocal spectacle for the entire evening."
"The vocal soloists, drawn from the choir and singing in German, performed with impressive clarity and color. All three angels — John Taylor Ward, bass, as Raphael; Steven Soph, tenor, as Uriel; and Jessica Petrus, soprano, as Gabriel — projected a velvety suaveness that seemed perfect for these otherworldly roles. Mr. Ward and Megan Chartrand, soprano, gave Adam and Eve’s music a slightly earthier touch."
"Megan Chartrand, who had a small role as Eve, sang formidably."