Noted for her “dazzling, virtuoso singing” (Boston Globe), soprano Lucy Fitz Gibbon delights in the range of sonic possibility inherent in the human voice. With a repertoire ranging from the Baroque to the present day, she specializes in the dusty corners of the canon – giving modern premieres of rediscovered works from the Baroque through the mid-20^th century – and is sought-out for her collaborations with today’s composers.

Ms. Fitz Gibbon has appeared as soloist with ensembles such as the Saint Paul Chamber Orchestra, Tafelmusik, Naples Philharmonic, and American Symphony Orchestra, and debuts with the Hong Kong Philharmonic this spring. Recent operatic engagements include Alexander Tcherepnin’s La Fée et le cultivateur (Fée) with New Asia Chamber Music Society in Alice Tully Hall; Hao Weiya’s AI Variations (Scientist) in Zankel Hall; the Seattle Opera premiere of Sheila Silver’s A Thousand Splendid Suns (Laila, cover); and the Chinese premiere of Tan Dun’s Tea: Mirror of Soul (Princess Lan) in Shanghai’s Shangyin Opera House, a role she reprises in Fuzhou and Hong Kong in 2025.

An avid chamber musician, recent collaborators include the Aizuri and Brentano String Quartets, Merz Trio, Decoda, and flutist Marina Piccinini. Joshua Barone described her 2024 Ojai Festival performance of György Kurtág’s monumental Kafka Fragments with violinist Alexi Kenney as “by turns silly, shocking and mysteriously profound” (New York Times). With her husband and longstanding collaborative partner, pianist Ryan McCullough, Lucy performs repertoire ranging from 18^th century melodrama to 21^st century song on a variety of keyboard instruments. 

Lucy serves on the faculty of Bard College Conservatory and has been in residence at the Marlboro Music Festival annually since 2016. She is honored to be the recipient of a 2024 Fellowship from the Borletti-Buitoni Trust, whose generous support will enable upcoming commissioning, recording, and performance projects.