Mezzo-soprano, Margaret Lias, has been celebrated for her “warm,” “arresting,” and “rich-toned” singing. Since her Boston Symphony Hall debut in 2011 with Handel and Haydn Society (Handel, Israel in Egypt), Margaret has been a frequent soloist under the baton of Harry Christophers. In 2015, Margaret received praise for her Lincoln Center solo debut singing Mozart’s Requiem. Select solo appearances in 2016 and 2017 include Princeton Pro Musica (Corigliano, Fern Hill), Portland Symphony Orchestra (Beethoven, Symphony No. 9), Oratorio Chorale (Dvořák, Mass in D Major), Handel Society of Dartmouth (Bach, Mass in B Minor), Arcadia Players (Mozart, Requiem), the Cleveland Orchestra (Stravinsky, Threni: id est Lamentationes Jeremiae Prophetae), and Emmanuel Music (Bach, St. Mark Passion). 

A passionate supporter of Anglican liturgical music, Margaret has been a sought-after cantor for events such as bishop consecrations, priest ordinations, and Holy Week services in major cathedrals and churches in the US (St. John the Divine, New York, NY, Trinity Church in the City of Boston, MA, and Cathedral of St. Philip, Atlanta, GA) and abroad (Westminster Abbey (The Collegiate Church of St. Peter), London, England, and Coventry Cathedral (St. Michael’s Cathedral), Coventry, England.). Presently, Margaret is a staff singer with Emmanuel Music at Emmanuel Church, Boston, MA.

Margaret’s versatility as a singer allows her the opportunity to collaborate with other soloists to perform master choral works at a very high level easily transitioning from medieval and baroque music to classical, romantic, and contemporary repertoire. Margaret was a founding member of The Skylark Vocal Ensemble under Matthew Guard. She performs frequently with Seraphic Fire under Patrick Dupré Quigley, Boston Baroque under Martin Pearlman, Voices of Ascension under Dennis Keene, Sacred Music in a Sacred Space under K. Scott Warren, Emmanuel Music under Ryan Turner, and Musica Sacra New York under Kent Tritle. This season, Margaret is thrilled to add New York City Opera Renaissance chorus to her roster of ensembles. 

Sought after for her administrative talents, Margaret was named chorus representative for Handel and Haydn Society in 2009 and most recently nominated to the Board of Directors for Lorelei Ensemble. Prior to work as a full-time singer, Margaret used her extensive fundraising expertise to write grants, solicit funds, and organize donor events for Boston Modern Orchestra Project.

Margaret began vocal studies at the age of 13 but had already been a student of the Royal School of Church Music curriculum from age 7. As a teenager, Margaret participated in community education studies at Eastman School of Music and eventually went on to collegiate coursework there as well. While at Eastman, Margaret studied with Jane Günter-McCoy and Marcia Baldwin. Presently Margaret studies with D’Anna Fortunato and Claudia Waite.

Recent Reviews

As soloist in (a reconstruction of) Bach’s St. Mark Passion with Emmanuel Music
"Altos Margaret Lias and Deborah Rentz-Moore and bass David Tinervia were among the standouts for carrying power and interpretive nuance.” Boston Classical Review (2016)

As soloist in Muhly’s Bright Mass with Canons and Dvořák's Mass in D with Oratorio Chorale
"The Sanctus includes gracious solo lines...which were sung elegantly here by soprano Deborah Selig and mezzo-soprano Margaret Lias.” Portland Press Herald (2016)

As soloist in Duruflé’s Requiem with Back Bay Chorale
"In the Sanctus, a huge goose-bump engendering “Hosanna in excelsis” from the throng of singers burst forth, only to be countered with an openly touching, soul-searching Pie Jesu from mezzo-soprano Margaret Lias, whose vast tone-scape compels a listener’s total vigilance.” The Boston Musical Intelligencer (2015)

As soloist in Duruflé’s Requiem with Back Bay Chorale
“Mezzo-soprano Margaret Lias sang the “Pie Jesu” with a dark and affecting voice that lent a sense of longing to the music.” The Boston Classical Review (2015)

As soloist in Handel’s Messiah with Seraphic Fire and The Sebastians
"Then shall the eyes of the blind” followed, sung by Margaret Lias’ fine mezzo-soprano. [In] “He shall feed his flock,” Lias’s decorations were lovely.” Palm Beach Arts Paper (2015)

As soloist in Mendelssohn’s Elijah with New Bedford Symphony Orchestra
“...Lias sang in an impressive high mezzo with solid diction.” SouthCoast Today (2015)

As soloist in Mozart’s Requiem with True Concord Chorus and Orchestra
“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.” New York Concert Review, Inc. (2015)

As soloist in Haydn’s Lord Nelson Mass with Seraphic Fire and The Sebastians
“Margaret Lias’ mezzo was secure at the highest and lowest extremes, her burnished tone consistently arresting.” South Florida Classical Review (2015)

As soloist in Bach’s Dazu ist erschienen der Sohn Gottes, BWV 40 with Handel and Haydn Society
“The rich-toned alto Margaret Lias proclaimed comfort to the “grieving sinner” with vocal power in reserve.” Boston Classical Review (2014)

As soloist in Bach’s Magnificat and Christmas Oratorio with Princeton Pro Musica
“…with mezzo-sopranos Margaret Lias and Luthien Brackett providing the most dramatic performances of the evening.” Town Topics, Princeton, NJ (2014)

As soloist in Vivaldi’s Gloria with Handel and Haydn Society
“Margaret Lias’ singing was both warm and haunting in the “Agnus Dei.” The Boston Classical Review (2014)

As soloist in Bach’s Mass in B Minor with Handel and Haydn Society
“The oboe and oboe d’amore wove sweet countermelodies with Margaret Lias’s lovely alto voice.” The Boston Classical Review (2013)

As soloist in Bach’s Mass in B Minor with Handel and Haydn Society
“Alto Margaret Lias was arresting in the Qui sedes ad dexteram solo.” The Boston Musical Intelligencer (2013)

© Margaret Lias 2016