INDIVIDUAL CAREER CONSULTATIONS

ONLINE | INDIVIDUALLY SCHEDULED
Building Professional Audition Package
​for the North American and European Markets
with
​ANASTASIA INNISS & JULIE WYMA
The consultation consists of:
- two reviews and edits of complete application package, with detailed feedback
- 60-minute individual career sessions 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 individual consultation session;
  • 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.
  • ​REVIEW & FOLLOW-UP: follow-up review of updated materials and feedback via email.​​​
 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 €300. 
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.
[email protected]
N26
Julie Wyma
IBAN: DE40 1001 1001 2629 3903 16 
BIC: NTSBDEB1 
Krüllsstr 3
12435 Berlin
Deutschland
2. emailing us your materials at info@operaprogramsberlin.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 info@operaprogramsberlin.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.” 
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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 is a multifaceted artist whose career bridges performance and executive leadership in the classical music world. With over two decades of experience, she is internationally recognized as both a commanding performer and a visionary arts leader, celebrated for her work in education, production, and cultural advocacy across Europe and the U.S.
 
As a performer, Ms. Inniss has appeared in leading roles across major festivals and opera companies, including 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).
 
She is a passionate advocate for contemporary music, premiering works by composers such as Vartan Aghababian, Michael Djupstrom, Victoria Ellis, and Eric Sawyer—many written specifically for 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). Her concert repertoire includes solo appearances at the Berliner Philharmonie and major venues throughout the U.S. and Europe, performing works such as J.S. Bach Jauchzet Gott in alles Landen (Berliner Philharmonie), 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 (Berliner Philharmonie, Fine Arts Chorale), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players), L'Allego, il Pensieroso, ed il Moderato (Berliner Philharmonie); Pergolesi Stabat mater(Berliner Philharmonie); 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 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.
 
In parallel, Ms. Inniss is an accomplished executive arts leader and educator with 25+ years in arts administration. She is the co-founder and artistic director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024, she was awarded a grant by Centros de Arte, Cultura y Turismo Lanzarote to found and direct the Academia de Ópera Lanzarote at the UNESCO-protected Jameos del Agua Auditorium. She has also served as artistic director of the Berlin Song Festival and as a consultant for The Opera Stage, and is a frequent contributor to Classical Singer Magazine, where she writes on sustainability and access in the arts. In addition to this she has worked for Gracenote and Harvard University. 
 
Her leadership work centers on equity and innovation in opera and classical music. She has co-produced initiatives like TransVoices*— a fully funded tuition-free series of masterclasses and concerts for transgender and non-binary artists — and led scholarship programs for underrepresented communities. Her directing credits span opera, music theatre, and concert works, and she has also worked as a casting director, producer, and costume designer.
 
An educator, Ms. Inniss has over 25 years of experience teaching voice, vocal repertoire, and vocal pedagogy. She was taught at a college level as well as privately. She has guided the voices of numerous transgender voice professionals and is particularly adept to training voices with complex landscape. She studied at the Longy School of Music at Bard College as a recipient of the Janet Irving Scholarship and holds grants from Neue Start Kultur (Deutscher Musikrat) and Dezentrale Kulturarbeit Reinickendorf.
 
With a foundation in music, theatre, and the visual arts, Ms. Inniss brings a holistic, community-centered approach to her artistic and administrative work—one that reimagines the role of classical music in today’s world.