on demand | 30-day replay
KATHLEEN PARKER
Red Tape Translation, Founder & Owner
(Opera Cologne, Deutsche Oper Berlin, Theater Nordhausen,
Hessisches Staatstheater Wiesbaden, Mecklenburgisches Staatstheater)
REBEKAH ROTA
(Operintendantin Oper Wuppertal)
THOMAS FLORIO
(Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Hamburg,
Opéra national de Lorraine, Staatsoper Hannover, Theater Magdeburg)
JULIE WYMA
Opera Programs Berlin, Co-Founder & Executive Director
(Deutsche Oper Berlin, Lyric Opera of Kansas City, Opera North,
Choriner Opernsommer, Berliner Philharmonie)
ANASTASIA INNISS
Opera Programs Berlin, Co-Founder & Artistic Director
(Berliner Philharmonie, Grimeborn Opera Festival, Edinburgh Fringe Festival,
New London Opera Players, Brandenburgisches Konzertorchester)
Red Tape Translation, Founder & Owner
(Opera Cologne, Deutsche Oper Berlin, Theater Nordhausen,
Hessisches Staatstheater Wiesbaden, Mecklenburgisches Staatstheater)
REBEKAH ROTA
(Operintendantin Oper Wuppertal)
THOMAS FLORIO
(Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Hamburg,
Opéra national de Lorraine, Staatsoper Hannover, Theater Magdeburg)
JULIE WYMA
Opera Programs Berlin, Co-Founder & Executive Director
(Deutsche Oper Berlin, Lyric Opera of Kansas City, Opera North,
Choriner Opernsommer, Berliner Philharmonie)
ANASTASIA INNISS
Opera Programs Berlin, Co-Founder & Artistic Director
(Berliner Philharmonie, Grimeborn Opera Festival, Edinburgh Fringe Festival,
New London Opera Players, Brandenburgisches Konzertorchester)
JULIE WYMA, EXECUTIVE DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
PROGRAM DESCRIPTION
Preparing to do auditions in Germany? Planning to move there and do not know where to start?
This program is for you!
Germany is a great place to be for singing, but that doesn’t mean it’s easy!
This program is for you!
Germany is a great place to be for singing, but that doesn’t mean it’s easy!
- 6 engaging & information-packed sessions each ending with a Q&A covering additional specific case-scenarios
- sample application materials for the German market
- complete guide to recording successful audition videos
- complete list of German theatres with their classifications
- guidance in how to apply for both representation and jobs in the German Theater system
- checklist for moving to Germany as an artist
- immigration and visa information and resources
- list of resources on finding short- and long-term housing in Germany
- an array of resources and information
In this program, we take you through everything you need to know about relocating to Germany for singing, including:
- visas and immigration – options for how to stay in Germany legally
- how to apply for various visas
- what to bring and what to expect in Ausländerbehörde (immigration office) appointments
- Anmeldung - information on how to register and what the requirements are
- types of singing work – fest, guest, freelance, & everything in between
- insurance – what it all means and what to get
- bank accounts – choosing what’s right for you and how to prepare all needed documents
- pension, taxes & financial planning for freelance and employed singers
- language acquisition – learning German before and after you move
- finding an apartment – having success and avoiding scams
- setting up utilities
- families – how to bring your family with you, or start one once you’re here
- audition tours – how to prepare and what to expect - the facts, myths and fallacies
- structure of the German theatre system - how it is financed, how interacts with agents, managers, etc.
- opera, oratorio & concert work differences
- casting for the German market
- living in Germany – integrating into society, making friends, and building a life
SESSIONS
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Auditioning - Building Application Materials for the German Theater System
with ANASTASIA INNISS & JULIE WYMA Working as a Musician in Germany, the Practical Side - Registration, Insurance, Finding an Apartment, Moving with a Family with KATHLEEN PARKER Structure of the German Theater System and Casting for It with REBEKAH ROTA Building a Life & Career in Germany - Fest, Guest, Freelance, & Everything in Between with THOMAS FLORIO ,All Things German Immigration - Structure, Law, Bureaucracy & Resources with KATHLEEN PARKER Taxes & Financial Planning with KATHLEEN PARKER |
Kathleen Parker speaking about the program.
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IN COLLABORATION WITH
RED TAPE TRANSLATION
Berlin’s best resource for all things bureaucracy!
Founded in 2012 by Kathleen Parker, Red Tape Translation specializes in live translation, coaching, life admin, and written translation services for almost any need you may have in navigating life in Germany.
Their website also features a blog with posts on topics including self-employment, renting an apartment, learning German, family, driving, and more.
Berlin’s best resource for all things bureaucracy!
Founded in 2012 by Kathleen Parker, Red Tape Translation specializes in live translation, coaching, life admin, and written translation services for almost any need you may have in navigating life in Germany.
Their website also features a blog with posts on topics including self-employment, renting an apartment, learning German, family, driving, and more.
TUITION
€250
- 6 ninety-minute sessions
- 30-day replay of all session videos
- materials and resources on all topics
REGISTRATION
Register via your preferred payment method following the links 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.
Therefore, all payment transaction fees must be covered on the sender's side.
Opera Programs Berlin does not cover any transaction fees.
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N26
Julie Wyma IBAN: DE40 1001 1001 2629 3903 16 BIC: NTSBDEB1 |
FACULTY
KATHLEEN PARKER
Praised as “an ideal Wagner soprano” (The Straits Times), Kathleen Parker thrilled international audiences with her portrayals of Senta in Der Fliegende Holländer (Victoria Theatre, Singapore) and Elisabeth in Tannhäuser at the Seoul Arts Center. The Yonhap News lauded her “bell-like high notes” and “rich, expressive voice,” and the Thüringer Allgemeine touted her performance as “powerfully acted and sung.”
Kathleen has enjoyed a varied career as a guest singer with a special interest in Wagner roles. She has performed as a soloist at Opera Cologne, Deutsche Oper Berlin, Theater Nordhausen, Hessisches Staatstheater Wiesbaden and Mecklenburgisches Staatstheater. Senta, Elisabeth, Woglinde, Helmwige, Ellen Orford, Vitellia, Elettra and elle (La Voix Humaine) feature among the roles she has performed in theatres internationally. Notable awards include the Wolfgang Wagner Prize and the Audience Prize at the International Singing Competition for Wagner Voices in 2015 in Karlsruhe, Germany and the Opera Foundation of Australia’s German-Australian Opera Grant in Sydney.
In addition to her work on stage, Kathleen is the managing director of Red Tape Translation UG, a Berlin-based company dedicated to helping English-speaking expats navigate through German bureaucracy. Kathleen started the company in 2012 and now has a team of 15 interpreters, translators, coaches and administrative staff behind her. Red Tape Translation has now assisted thousands of musicians, artists and freelance creatives with registering, working, starting a business, getting married and obtaining visas and work permits in Germany.
Born in Canada and raised in Australia, Kathleen studied at the University of Queensland, graduating with a Bachelor of Music with Honours I in 2003. She then received a full scholarship to train at the Australian Opera Studio, graduating in 2008 with the Dux Prize.
Praised as “an ideal Wagner soprano” (The Straits Times), Kathleen Parker thrilled international audiences with her portrayals of Senta in Der Fliegende Holländer (Victoria Theatre, Singapore) and Elisabeth in Tannhäuser at the Seoul Arts Center. The Yonhap News lauded her “bell-like high notes” and “rich, expressive voice,” and the Thüringer Allgemeine touted her performance as “powerfully acted and sung.”
Kathleen has enjoyed a varied career as a guest singer with a special interest in Wagner roles. She has performed as a soloist at Opera Cologne, Deutsche Oper Berlin, Theater Nordhausen, Hessisches Staatstheater Wiesbaden and Mecklenburgisches Staatstheater. Senta, Elisabeth, Woglinde, Helmwige, Ellen Orford, Vitellia, Elettra and elle (La Voix Humaine) feature among the roles she has performed in theatres internationally. Notable awards include the Wolfgang Wagner Prize and the Audience Prize at the International Singing Competition for Wagner Voices in 2015 in Karlsruhe, Germany and the Opera Foundation of Australia’s German-Australian Opera Grant in Sydney.
In addition to her work on stage, Kathleen is the managing director of Red Tape Translation UG, a Berlin-based company dedicated to helping English-speaking expats navigate through German bureaucracy. Kathleen started the company in 2012 and now has a team of 15 interpreters, translators, coaches and administrative staff behind her. Red Tape Translation has now assisted thousands of musicians, artists and freelance creatives with registering, working, starting a business, getting married and obtaining visas and work permits in Germany.
Born in Canada and raised in Australia, Kathleen studied at the University of Queensland, graduating with a Bachelor of Music with Honours I in 2003. She then received a full scholarship to train at the Australian Opera Studio, graduating in 2008 with the Dux Prize.
REBEKAH ROTA
Dr. Rebekah Rota brings to Wuppertal 28 years of international theater experience on and behind the stage. She has been an Opernintendantin here since August 2023/24. Before that, she was stellvertretende Operndirektorin from 2020 to 2022 and opera manager at the Staatstheater Karlsruhe since September 2021. She received her Doctor of Musical Arts from the University of Michigan, where she studied with Grammy Award winner Prof. Lorna Haywood.
In Karlsruhe, Rebekah Rota was actively involved in the State Theater's internal future process. In numerous training courses on the modernization of theater structures and practice-oriented working groups, she developed her forward-looking vision of a more democratic and cosmopolitan theatre system. She is an active member of the Germany-wide initiative Zukunft des Theaters / Theater der Zukunft, whose efforts she shares to enable the necessary transformation of the theater system in an exchange of equal terms across professional groups and generations.
As a director, Rebekah Rota has enjoyed success with her productions of TAGEBUCH DER ANNE FRANK at the International Penderecki Festival Zabrze and COSÌ FAN TUTTE at the Michigan Opera, among others. She has also performed over 40 roles in the soprano repertoire as a soloist at theaters such as the Théâtre des Champs-Élysées and the Michigan Opera Theater. She has also been able to put her enthusiasm for theater into practice in the artistic direction of special projects, for example in and around Dresden, Mecklenburg-Vorpommern, San Francisco CA, Salt Lake City, Utah, and Detroit, Michigan. Dr. Rebekah Rota worked Chefdisponentin und Referentin des Operndirektors to the opera director at the Landesbühnen Sachsen.
Dr. Rebekah Rota brings to Wuppertal 28 years of international theater experience on and behind the stage. She has been an Opernintendantin here since August 2023/24. Before that, she was stellvertretende Operndirektorin from 2020 to 2022 and opera manager at the Staatstheater Karlsruhe since September 2021. She received her Doctor of Musical Arts from the University of Michigan, where she studied with Grammy Award winner Prof. Lorna Haywood.
In Karlsruhe, Rebekah Rota was actively involved in the State Theater's internal future process. In numerous training courses on the modernization of theater structures and practice-oriented working groups, she developed her forward-looking vision of a more democratic and cosmopolitan theatre system. She is an active member of the Germany-wide initiative Zukunft des Theaters / Theater der Zukunft, whose efforts she shares to enable the necessary transformation of the theater system in an exchange of equal terms across professional groups and generations.
As a director, Rebekah Rota has enjoyed success with her productions of TAGEBUCH DER ANNE FRANK at the International Penderecki Festival Zabrze and COSÌ FAN TUTTE at the Michigan Opera, among others. She has also performed over 40 roles in the soprano repertoire as a soloist at theaters such as the Théâtre des Champs-Élysées and the Michigan Opera Theater. She has also been able to put her enthusiasm for theater into practice in the artistic direction of special projects, for example in and around Dresden, Mecklenburg-Vorpommern, San Francisco CA, Salt Lake City, Utah, and Detroit, Michigan. Dr. Rebekah Rota worked Chefdisponentin und Referentin des Operndirektors to the opera director at the Landesbühnen Sachsen.
THOMAS FLORIO
Baritone Thomas Florio has been hailed as “powerful, flexible, and sensitive” (Frankfurter Allgemeine Zeitung). His work has also been celebrated as “brilliant” (Scherzo Magazine) and “the vocal event of the performance” (Orpheus Opera International).
In particular, his interpretation of Peter Maxwell Davies’ Eight Songs for a Mad King has been hailed as “peerless” (NRC Handelsblad - NL), “phenomenal” (Turun Sanomat - FI), and “vocalism seamlessly combined with physical expression” (Rondo Classic - DE). The Oslo Aftenposten (NO) raved, “Florio has remarkable empathy, bringing to life an extraordinarily complex character with crystal clear enunciation… this performance is a dramatic home run.”
On the operatic stage, Thomas has performed across Europe with the Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Hamburg, Opéra national de Lorraine, Staatsoper Hannover, and Theater Magdeburg, among others. From 2011 to 2013, he was a member of the Internationales Opernstudio at the Staatsoper Hamburg; his early career highlights include young artist programs with Wolf Trap Opera and San Francisco Opera’s Merola Opera Program.
As a concert artist, Thomas has appeared under the auspices of the Berlin Philharmonic (Germany), the Oslo Philharmonic (Norway), with the Kuhmo Chamber Music Festival, the Turku Music Festival, and the Tapiola Sinfonietta (Finland), the Stift International Music Festival (Netherlands), Les sons intensifs (Belgium), and the Staunton Music Festival (USA).
In 2024, with Klaus Mäkelä and members of the Orchestre de Paris, Thomas performed Eight Songs for a Mad King in a special concert in the Salle Daru of the Louvre Museum. Díapason Magazine said of the performance, "The setting is grandiose; the dizzying embodiment, both vocal and physical, by Thomas Florio leaves the audience speechless.”
Thomas also devotes himself to educating the next generation of musicians and music lovers. He performs in children’s operas, narrates symphony concerts for families in both German and English, leads post-show conversations with young audiences, and works with local schools to provide in-school presentations.
Competition successes include the 41st NATS Artist Award Competition (Grand Prize Winner, 2011), and the Houston Grand Opera Eleanor McCallum Competition (Second Place, 2011), among others.
Baritone Thomas Florio has been hailed as “powerful, flexible, and sensitive” (Frankfurter Allgemeine Zeitung). His work has also been celebrated as “brilliant” (Scherzo Magazine) and “the vocal event of the performance” (Orpheus Opera International).
In particular, his interpretation of Peter Maxwell Davies’ Eight Songs for a Mad King has been hailed as “peerless” (NRC Handelsblad - NL), “phenomenal” (Turun Sanomat - FI), and “vocalism seamlessly combined with physical expression” (Rondo Classic - DE). The Oslo Aftenposten (NO) raved, “Florio has remarkable empathy, bringing to life an extraordinarily complex character with crystal clear enunciation… this performance is a dramatic home run.”
On the operatic stage, Thomas has performed across Europe with the Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Hamburg, Opéra national de Lorraine, Staatsoper Hannover, and Theater Magdeburg, among others. From 2011 to 2013, he was a member of the Internationales Opernstudio at the Staatsoper Hamburg; his early career highlights include young artist programs with Wolf Trap Opera and San Francisco Opera’s Merola Opera Program.
As a concert artist, Thomas has appeared under the auspices of the Berlin Philharmonic (Germany), the Oslo Philharmonic (Norway), with the Kuhmo Chamber Music Festival, the Turku Music Festival, and the Tapiola Sinfonietta (Finland), the Stift International Music Festival (Netherlands), Les sons intensifs (Belgium), and the Staunton Music Festival (USA).
In 2024, with Klaus Mäkelä and members of the Orchestre de Paris, Thomas performed Eight Songs for a Mad King in a special concert in the Salle Daru of the Louvre Museum. Díapason Magazine said of the performance, "The setting is grandiose; the dizzying embodiment, both vocal and physical, by Thomas Florio leaves the audience speechless.”
Thomas also devotes himself to educating the next generation of musicians and music lovers. He performs in children’s operas, narrates symphony concerts for families in both German and English, leads post-show conversations with young audiences, and works with local schools to provide in-school presentations.
Competition successes include the 41st NATS Artist Award Competition (Grand Prize Winner, 2011), and the Houston Grand Opera Eleanor McCallum Competition (Second Place, 2011), among others.
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. She regularly works as an acting and dramaturgy coach for operatic and crossover singers.
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, the title role in Rusalka, 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; and numerous operatic concerts in the Choriner Opernsommer. She is a frequent interpreter of the music of American expatriate composer Paul Bowles.
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. She regularly works as an acting and dramaturgy coach for operatic and crossover singers.
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, the title role in Rusalka, 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; and numerous operatic concerts in the Choriner Opernsommer. She is a frequent interpreter of the music of American expatriate composer Paul Bowles.
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.
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.
