INDIVIDUAL CAREER CONSULTATIONS

ONLINE | INDIVIDUALLY SCHEDULED
Visual Presentation
Online Presentation
Application Materials
with
​ANASTASIA INNISS & JULIE WYMA
&
Career Consultation
Finding Representation in Europe
with
​STEPHAN REINEKE
The consultation consists of 2 individual sessions and is tailored to the individual needs of each artist:
  • standing out from the crowd in a highly competitive and saturated market;
  • identifying your individual strengths and how to capitalize on them;
  • creating and polishing your professional materials (website, CV/resume, repertoire list, audition repertoire list, professional social media, audition recordings) to get noticed every time;
  • honing and applying your entrepreneurial skills in the current market;
  • finding representation in the European market;
  • creating performance opportunities;
  • creating a career trajectory.
SESSIONS:
  • REVIEW: Thorough review of artist's professional materials prior to the two individual consultation sessions;
  • 60-min SESSION: Anastasia Inniss and Julie Wyma going over feedback after review of professional materials, addressing the individual points of action, creating a strategic plan to develop application materials, website, recordings and branding further.
  • ​FOLLOW-UP: follow-up review of materials via email.
  • 30-min SESSION: Stephan Reineke (Reineke Artists, TACT International Management) reviews application materials, answers questions on finding representation in Germany, introduces artist to the German theater system, provides guidance on best next steps in career development​​
 Find out:
  • where you fit in the global market;
  • how to build a sound list of audition arias;
  • how to present a well-balanced audition program and/or competition program;
  • how to present a successful audition and video;
  • how to present a polished individualised look;
  • how to maintain vocal health throughout your career;
  • how to stand out among hundreds of applicants.

Learn about:
  • The German, European and Global Markets
  • The German Theatre System
  • Finding German Representation
  • Casting within the German Theatre System
  • To Fest or to Guest​
  • Working in a Chorus​
BOOK A CONSULTATION
​The cost for all sessions of this individual consultation package is €200. 
You can register for an individual consultation package by:
1. making a payment using one of the payment methods below: 
Please note that Opera Programs Berlin does not charge administration fees for any of its programs.
Therefore, all payment transaction fees must be covered on the sender's side.
​Opera Programs Berlin does not cover any transaction fees.
operaprogramsberlin@gmail.com
N26
Julie Wyma
IBAN: DE40 1001 1001 2629 3903 16 
BIC: NTSBDEB1 
Krüllsstr 3
12435 Berlin
Deutschland
2. emailing us your materials at operaprogramsberlin@gmail.com:
  • website link
  • photo/headshot
  • CV/resume
  • full repertoire list
  • audition repertoire list
  • professional social media links (Facebook, Instagram, TikTok, LinkedIn, etc.)
  • up to three audition recordings
    * Please note that if you do not have some of the materials above, we will walk you through creating these.
Please drop us an email at operaprogramsberlin@gmail.com with any questions.
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JULIE WYMA
​
Julie Wyma has been described as a Renaissance Woman of opera, having worked in both Europe and the United States as a singer, director, stage manager, wig/makeup artist, costume designer, producer, and educator.

Julie has produced and directed operas including Wagner’s Lohengrin, Das Rheingold and Die Walküre (Berlin Wagner Gruppe), Wagner’s complete Ring Cycle (Opera By Request, semi-staged) Massenet’s Werther (Irrational Entertainment), Händel’s Semele (Midwest Early Opera Works), Jonathan Stinson’s The Three Bears and Ryan Oldham’s The Emperor’s Madness (University of Missouri-Kansas City), as well as Jason Robert Brown’s musical The Last Five Years (Voci Inglesi) and numerous opera scenes programs. She has assistant directed Albert Herring and Giulio Cesare at the University of Missouri-Kansas City, La Traviata at the Lyric Opera of Kansas City, and Carmen at Opera North, and she assistant stage managed La Rondine at Indiana University. She has directed opera scenes at Opera North and the University of Missouri-Kansas City. In 2019 she produced a staged performance of The AIDS Quilt Songbook: Berlin Edition in Berlin, Germany, which included two new song commissions. In January 2022 she will direct a production of Strauss's Elektra in Berlin (Berlin Elektra Projekt).

As a costume designer Julie worked for Dicapo Opera Theatre in New York for the 2011-2012 Season, which included Tosca, The Consul, Iolanta, The Most Happy Fella, La Cenerentola, Beauty and the Beast, and La Traviata. She also designed costumes for Opera On Tap Berlin’s production of Les contes d’Hoffmann in 2016 and for Literally Alive’s production of A Christmas Carol in New York in 2012. As a student she worked as a costume assistant/stitcher for the University of Arizona on Le nozze di Figaro and The Merry Wives of Windsor, and for Indiana University on Die Zauberflöte, The Nutcracker, and La Rondine. She has worked as a Wig and Makeup Assistant for the Lyric Opera of Kansas City, in operas including Giulio Cesare, La Bohème, and John Brown, at the University of Missouri-Kansas City in productions including La Bohème, Suor Angelica, Gianni Schicchi, and The Man of La Mancha, and for a national tour of Hairspray. As a young artist, she was a set construction assistant at Opera in the Ozarks in 2004.

As an educator, Julie’s passion lies in helping singers make the transition from student to professional, and in guiding talented people to the places where they are needed. She has served as a vocal coach, preparing singers for auditions and talent competitions, as well as an audition panelist and advisor. With organizations such as Opera Programs Berlin, Dramatic Voices Program Berlin, Irrational Entertainment, Midwest Early Opera Works, Voci Inglesi, Berlin Wagner Gruppe and Berliner Opernverein, she has facilitated performance opportunities for singers seeking additional stage experience and the chance to hone their craft in a supportive, professional environment.

As a professional operatic soprano she has performed more than 25 roles, including die Königin der Nacht and Pamina in Die Zauberflöte, Rosina in I barbiere di Siviglia, Adele in Die Fledermaus, Gilda in Rigoletto, Marie in Die verkaufte Braut, Musetta in La Bohème, Sophie in Werther, Gretel in Hänsel und Gretel, the Waldvogel in Siegfried, and Norina in Don Pasquale. Of her Norina, the Kansas City Metropolis said: “soprano Julie Wyma sparkled with a self-confident air and a strong, beautiful voice.” 
​
An active concert performer and recitalist, her recent appearances include concerts at the US Consul General in Düsseldorf and the Residence of the US Ambassador to Germany in Berlin; a song recital at the University of Pittsburg at Greensburg; Lovers’ Quarrels, a concert of operatic duets and arias in Concord, New Hampshire and Niemegk, Germany; Three Tenors and a Soprano concerts in Cornish and New London, New Hampshire; and Viva Divas!, a concert of operatic arias, duets, and trios in Cornish, New Hampshire, Phoenix, Arizona and Berlin, Germany.
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 ANASTASIA INNISS

Anastasia Inniss started her arts education at the age of 5, studying piano. She was a member of the Bulgarian National Theater Youth Ensemble, where she was cast in children's roles in numerous main stage and touring productions. Her training at the National Theatre included acting, improvisation, Latin and folk dance. She also studied percussion and classical guitar.

In addition to her musical interests, Ms. Inniss showed a keen interest in the visual arts & design. Before the age of 10, her watercolor paintings and color pencil drawings were selected for numerous solo and group art exhibitions. At the age of 8, she was the recipient of the City of Plovdiv Portrait Drawing Award having been selected from thousands of entries city-wide.
​
Ms. Inniss commenced her vocal training in Bulgaria and continued it at the Longy School of Music at Bard College (Cambridge, Massachusetts) as a recipient of the Janet Irving Scholarship for Vocal Studies. She was a member of the Central Florida Lyric Opera Young Artists Program and was later invited to return as a main stage Resident Artist with the company.

Opera roles include: Judith in A kékszakállú herceg vára (Grimeborn Opera Festival London); Woglinde in Das Rheingold (Berliner Wagner Gruppe); Elsa in Lohengrin (Berliner Wagner Gruppe); Ariadne in Ariadne auf Naxos (Edinburgh Fringe Festival), Violetta in La Traviata (Central Florida Lyric Opera; New London Opera Players, Fine Arts Chorale & Orchestra) Governess in Turn of the Screw (Opera Seria), Donna Anna in Don Giovanni (Opera Seria, Edinburgh Fringe Festival), Nedda in Pagliacci (Central Florida Lyric Opera), Micaëla and Frasquita in Carmen, under the directorship of late legendary soprano Licia Albanese (Central Florida Lyric Opera); Contessa in Le Nozze di Figaro (Central Florida Lyric Opera), Serpina in La serva padrona (Berliner Philharmonie Kammermusiksaal, concertante).

Ms. Inniss is a champion of new music. She has premiered works by prominent American and British composers such as Vartan Aghababian, Michael Djupstrom, Victoria Ellis, Heather Gilligan and Eric Sawyer; some of these works were written and dedicated to her. In addition to numerous song cycles and solo concert works with orchestra, she also created the role of Anna von Mildenburg in the new theater piece Geboren Alma Schindler (Berliner Opern Verein); the role of Member of the Chamber in the premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers); and the title role in the world premiere of Victoria Ellis' opera Darling (One of Us Foundation).

Solo concert engagements include J.S. Bach Jauchzet Gott in alles Landen (Berliner Philharmonie Kammermusiksaal), Mein Herze schwimmt im Blut (Old North Concert Series), Magnificat in D (Fine Arts Chorale), Missa brevis in A (Fine Arts Chorale); Mozart's Requiem (Fine Arts Chorale), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie Kammermusiksaal), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players), L'Allego, il Pensieroso, ed il Moderato (Berliner Philharmonie Kammermusiksaal); Pergolesi Stabat mater (Berliner Philharmonie Kammermusiksaal); Schubert Mass in G (Highnam Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi Gloria (Old North Concert Series); Vaughan Williams Dona nobis pacem (Tufts University Orchestra, cover); Mendelssohn's Midsummer Night's Dream (Longy Chamber Orchestra); Berg Sieben frühe Lieder (Kirchberg Chamber Music Festival); Mahler Rückert-Lieder (Berlin Song Festival); Strauss Vier letzte Lieder (Berlin Song Festival, Kirchberg Chamber Music Festival, Walbrook Music Trust, Galerieforum am Meer); Villa-Lobos Bachianas Brasilieras No.5 (Kirchberg Chamber Music Festival) among others.

As a concert artist, Ms. Inniss has also given numerous concert and solo recitals in the United States and in Europe.

Ms. Inniss is the co-founder and Artistic Director of Opera Programs Berlin and Dramatic Voices Program Berlin. Previously, she was the Artistic Director of the Berlin Song Festival and an Artistic Consultant for The Opera Stage (now folded into Classical Singer Magazine). She has worked as an educator in higher education as well as in leadership positions in the arts for the last 15 years, both in the United States and in Europe.

​Her directing credits include: Purcell's Dido & Aeneas, Jason Robert Brown's The Last Five Years and scenes from the operatic and musical theatre repertoire. She has served as a casting director and producer for Wagner's Das Rheingold, Wagner's Lohengrin, Strauss' Elektra, Wagner's Die Walküre and Jason Robert Brown's The Last Five Years. She also designed costumes for Purcell's Dido & Aeneas and ​Jason Robert Brown's The Last Five Years. 

Ms. Inniss is a leader in the classical music industry. She has co-produced and hosted roundtable panel discussions on patterns of discrimination in the classical music industry - Singing While Black In Germany, Race in Opera and Ageism in Opera. In addition, she has spear-headed, co-designed, co-produced and hosted Trans*Voices - a series of masterclasses for transgender and non-binary artists. She often does charity work raising money for such organisations as Save the Children, Berliner Aids-Hilfe, Hochschule für Musik Hanns Eisler CoronaCare, Black Lives Matter, Chineke! Foundation, Artist Relief Tree.

​She currently splits her time between Berlin, London and Lanzarote (Canary Island) with her husband linguist Jahmai Inniss. In her free time, she enjoys long swims, cooking without recipes, spontaneous travel and pretty much anything to do with the ocean.
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STEPHAN REINEKE 
​
Stephan studied law, musicology and cultural administration at the universities in Bayreuth, Mainz, Cologne and Berlin. After early lessons in piano, he became a member of a chorus working with conductors such as Sergiu Celibidache, Sylvain Cambreling and Michael Gielen and orchestras such as the Munich Philharmonic, the Royal Philharmonic Orchestra London and the SWR Symphonieorchester.

He gained valuable experience working in the artistic administration of Komische Oper Berlin, as Assistant to the Director of the Radio Chorus Berlin and as Personal Assistant to the Intendant of Dortmund Opera.
In 2004 he embarked on his career as an Artist Manager for singers and conductors and during the subsequent years worked for different agencies before joining the team of TACT International Art Management in 2012. For many years, he was also Managing President of a non-profit foundation in Berlin supporting young and talented artists. 
​
In addition, Stephan was a member of the jury of the International Singing Competition Debut and the Jerusalem International Opera Competition. He gives lectures at the Berlin Summer University of the Arts and works in audition trainings with students at the Hanns Eisler School of Music Berlin, at the Dutch National Opera Academy Amsterdam, and for further vocal academies and programs.