OPERA PROGRAMS BERLIN

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  • HOME
  • UPCOMING PROGRAMS
    • YOUR CAREER IN THE DRIVER'S SEAT©
  • PROGRAMS ON DEMAND
    • THE COMPLETE GUIDE TO RELOCATING TO GERMANY AS ​A SINGER©
    • BUILDING A CAREER AS A CLASSICAL MUSIC SINGER©​​ ON-DEMAND
    • VOCAL PEDAGOGY PROGRAM
    • THE WHOLE INSTRUMENT: PHYSICAL, VOCAL & MENTAL ALIGNMENT
    • THE BUSINESS SIDE OF SINGING
    • INDIVIDUAL CAREER CONSULTATIONS
  • OUR FACULTY
  • THE TEAM
  • PANEL DISCUSSIONS
  • PAST PROGRAMS
    • ALL ABOUT DRAMATIC VOICES - THE MASTERCLASS SERIES
    • ALL ABOUT COLORATURAS - THE MASTERCLASS SERIES
    • DRAMATIC & SPINTO VOICES ​IN ACTION
    • PERSONAL BRANDING & BUSINESS WORKSHOP FOR CLASSICAL SINGERS
    • THE COMPLETE GUIDE TO RELOCATING TO GERMANY AS ​A SINGER© ON-DEMAND
    • AUDITIONS PLUS (+)
    • VOCAL PEDAGOGY SYMPOSIUM
    • THE WHOLE INSTRUMENT: PHYSICAL, VOCAL & MENTAL ALIGNMENT - ONLINE PROGRAM
    • POLISHING YOUR PROFESSIONAL ​AUDITION PACKAGE - ONLINE PROGRAM
    • TRANS* VOICES MASTERCLASS, APRIL|MAY|SEPTEMBER, 2021
    • TEACHING ONLINE: VOCAL TECHNIQUE, RESOURCES & STRATEGIES - ONLINE PROGRAM
    • FINDING REPRESENTATION & ​THE GERMAN THEATRE SYSTEM
    • GERMAN OPERETTA PROGRAM
    • HISTORICAL PERFORMANCE: 1580-1750
    • MOZART | DAPONTE PROGRAM
    • ITALIAN OPERAS: BEL CANTO & VERISMO
  • OUR VENUE
  • IMPRESSUM
OCTOBER, 2025 | online

ADAM CIOFFARI
(Pittsburgh Festival Opera, Glimmerglass Festival, Teatro Municipal de Santiago, Knoxville Opera, Austin Opera, Los Angeles Philharmonic, Theatre Capitole de Toulouse, Utah Symphony, Tucson Symphony, Pensacola Opera, Staatsoper Stuttgart, Komische Oper Berlin)

ZENAIDA DES AUBRIS
(International Cultural Events, Hangzhou Grand Theater, Palau de les Arts, Neue Stimmen Competition, Lyric Opera of Chicago, San Francisco Opera, Classical Singer Convention Lecturer, Estonian Academy of Music & Theater, Trentino Music Festival, Lotte Lehmann Academy)

REBECCA GREENSTEIN
(Opera Moderne, Hot Box Girls, Wien Noir, The National Lyric Opera, Dicapo Opera Theatre, One World Symphony, JABEN USA)

CAROLINE MILLER
(Princess Cruises, Celebrity, American Cruise Lines, Seabourn, The Pleiades Project, Toledo Opera, Ohio Light Opera, Chelsea Opera, Bard Opera, Surflight Music Theater, American Symphony Orchestra)

DANIELLE WRIGHT
(Opera MODO, Detroit Institute of the Arts and the Detroit Symphony Orchestra)

JULIE WYMA
Opera Programs Berlin, Co-Founder & Executive Director
​(Deutsche Oper Berlin, DOB Tischlerei, Sinfonia Leipzig, Choriner Opernsommer, Berliner Philharmonie, Lyric Opera of Kansas City, Opera North)

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

PROGRAM DESCRIPTION
For all artists who ask...

​I want to produce a concert, an opera, or form an arts organization - how do I get the skill set needed to do so?
5 engaging & information-packed sessions, each with time to ask your specific questions:
  • Walk through a production process - how to, from conception to wrap-up
  • Marketing/venue search/publicizing (including digital)
  • Programming and planning
  • Hiring and contracts 
  • Writing biographies, program notes, and copy for events
  • Funding and partnerships
  • Budgeting and business plans

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Hear from the people who are actually producing – in the trenches, so to speak – day in and day out. No vague inspiration, just real, current, lived experience.
In the end of the program, each participant will be asked to create a project proposal, including:
  • Name and description
  • Budget and financial planning
  • Personnel
  • Funding/partnerships
  • Production plan and schedule
  • Marketing strategy

Project proposal will be evaluated by Opera Programs Berlin and detailed written feedback provided. The goal of the successful proposal is to serve as a blueprint for future projects!

Participants will receive a course certificate upon successful completion of the project proposal.

SESSIONS
OCTOBER, 2025
Production & Administration Process

with
ADAM CIOFFARI

OCTOBER, 2025
Company Founding & Business Plans
with
DANIELLE WRIGHT


OCTOBER, 2025
Be Your Own Producer: How to Put On Your Own Show
with
ZENAIDA DES AUBRIS

OCTOBER, 2025
Developing & Selling Your Program + Company Founding
with
CAROLINE MILLER
​
OCTOBER, 2025
Company Founding & Longevity + Tailoring to Different Markets
with
REBECCA GREENSTEIN

NOVEMBER, 2025
Project Proposal Deadline

TUITION
€300
  • Five 90-minute sessions
  • 60-day replay of all session videos
  • detailed written evaluation of project proposal
  • certificate of course completion

SCHOLARSHIPS
We have a few partial scholarships up to 30% off tuition. If you would like to be considered for a scholarship, please email us your CV/resume at [email protected].  

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.
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[email protected]
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N26
Julie Wyma
IBAN: DE40 1001 1001 2629 3903 16 
BIC: NTSBDEB1 

FACULTY
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ADAM CIOFFARI

Adam Cioffari was named “Outstanding Stage Director” by the Tampa Bay Theater Awards for his production of The Merry Widow for St Petersburg Opera, where he also recently directed productions of Samson et Dalila, Tosca, Amahl and the Night Visitors and Così fan tutte. Other directorial credits include Die Fledermaus with Opera in Wiliamsburg, Rigoletto and Così fan tutte at Shreveport Opera and The Magic Flute at Opera North. Later this season, he will direct Carmen for Shreveport Opera.

​Also an active bass-baritone, Cioffari has been praised for his evocative performances, from his “zesty” (Opera News) Elviro in Houston Grand Opera’s Xerxes to his “sneering” (Washington Classical Review) Tom in Un Ballo in Maschera with Maryland Lyric Opera. In 2022, he made his debut with New York City Opera in the world-premiere of Ricky Ian Gordon's The Garden of the Finzi Continis. Recently, he played Capulet in Roméo et Juliette at Central City Opera, Fasolt in Das Rheingold with Dayton Opera and Leporello in Don Giovanni with Opera in Williamsburg. In concert, he recently performed in Handel's Messiah and Mozart’s Requiem with the Columbus Symphony Orchestra, and in Verdi's Requiem and Beethoven's Ninth Symphony with the Arkansas Symphony. 

Cioffari’s other role credits include the Commentator in the world premiere of Derrick Wang’s Scalia/Ginsburg at the Castleton Festival, the Musiklehrer (Ariadne auf Naxos) at the Glimmerglass Festival, Papageno (Die Zauberflöte) at Teatro Municipal de Santiago, Colline (La bohème) with Knoxville Opera, the title role in Le nozze di Figaro with Opera Columbus, Judge Turpin in Sweeney Todd with Pittsburgh Festival Opera, and Masetto (Don Giovanni) with Austin Opera. He has also performed with the Los Angeles Philharmonic, Theatre Capitole de Toulouse, Staatsoper Stuttgart, and Komische Oper Berlin. 

Cioffari is an alumnus of the Houston Grand Opera Studio, the Merola Opera Program, Music Academy of the West, and Aspen Opera Theater. He is a graduate of the Indiana University Jacobs School of Music. 

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ZENAIDA DES AUBRIS

Zenaida des Aubris is a Consultant for International Cultural Events, living in Berlin. Born in Argentina, she has over 35 years experience in management and production of opera and classical music in the United States, Europe and Asia.

After completing a Masters in Sociology, she joined the San Francisco Opera’s artistic administration department in the late 1970s. She went on to become the personal manager of the film and opera stage director Jean-Pierre Ponnelle, followed by the personal management of the conductor Lorin Maazel. 1996/98 Zenaida des Aubris was General Project Director for the open-air production of Puccini's "Turandot in the Forbidden City," Beijing, China, with Zubin Mehta conducting and directed by Zhang Yimou (9 performances for 45,000 visitors). Other international entertainment projects in China followed, including being Director for International Relations for the Wu Promotion Company in Beijing and culminating with her becoming the General and Artistic Director of the newly built Hangzhou Grand Theater in China. Back in Europe, she joined the Artistic Administration for the first two seasons of the Palau de les Arts in Valencia, Spain.

Zenaida des Aubris helps young opera singers with the business aspect of an opera career. She has given seminars on “the business of singing” for the Neue Stimmen Competition, Ryan Opera Center Chicago, Lotte Lehmann Academy, Trentino Music Festival, Estonian National Music Academy, etc. https://operacareercoach.com/

Zenaida currently runs her own artist management company, Arts Enterprises GmbH out of Berlin https://www.arts-enterprises.com/

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REBECCA GREENSTEIN

Rebecca Greenstein is the executive director and producer of Opera Moderne, Vien.noir, and The Hot Box Girls International.  She is also an artistic director, stage director, and experienced performer, originally from the great state of Texas.  In 2009, Ms. Greenstein began her producing and directing career with the repertory opera company, Opera Manhattan, in New York City.  She founded two international companies in 2011: Opera Moderne and the Hot Box Girls International.  Ms. Greenstein’s Opera Moderne was an immediate success in the international operatic scene and received accolades from the NYTimes, Opera News, Musical America, The Huffington Post, Parterre Box, Time Out New York, Opera Pulse, the Modern Mozartian, Superconductor, Voce di Meche, Classical Source, WQXR Operavore, The One-Way Ticket Show, the European Cultural News (Austria), and der Standard (Austria).
In 2025 Vien.noir presents the world premiere of the new musical “Mata Hari: A Cabaret of Intrigue” at the historic Cabaret CasaNova, where famed Josephine Baker performed when touring Europe in the 1930s. Ms. Greenstein originated the concept of “Mata Hari” and serves as the director and primary choreographer. In February 2025 Vien.noir Varieté returns to the CasaNova stage and will have the honor of performing the Midnight show for the UN AEIA Ball at the Hofburg Imperial Palace.

Ms. Greenstein continuously refreshes her companies’ offerings. Vien.noir presented the Vien.noir Varieté, its series of variety shows, for the first time in the 2023-2024 season, which also welcomed the opening of Vien.noir’s Events sector. In 2022 she launched an interdisciplinary project: Vien.noir Classic, a stunning cabaret experience of classical music, jazz, opera, and electronic music fused with circus, burlesque, and the art of aerial acrobatics at the beautiful Calea Club in Vienna, Austria.

The 2019, 2020, and 2021 seasons featured multiple new productions, all created by and under the stage direction of Ms. Greenstein. Highlights include "The Dark Cabaret," the European Premiere of the violin concerto "Dirty Music" by  Richard  Pearson Thomas at the Ateliertheater in Vienna, Austria on June 28, 2019, in collaboration with the Hot Box Girls International; and "Vien.noir: Caprice Noir," a new classical and jazz music fusion series, in collaboration with The Freestyle Orchestra.
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Other productions recently created or in development include:  "L'Opera Burlesque" at the Ateliertheater in Vienna, Austria; and “Fantasie Macabre” in collaboration with The Freestyle Orchestra and musicologist Dr. Chanda VanderHart.
Ms. Greenstein attended Texas State University (TSU) in San Marcos, Texas where she double-majored in Musical Theatre and Operatic Vocal Performance.  These extensive programs at TSU trained Ms. Greenstein in Stage Direction, Lighting, Costuming, Hair and Make-Up, Dance, Movement, Acting, Vocal Performance, and Vocal Pedagogy.  She began her career as a performer in Equity and Non-Equity theatres around Texas, including Zilker Theatre, The Violet Crow Players, and Austin Musical Theatre.  In May 2001, Ms. Greenstein moved to New York City and continued her musical and operatic performance career with such companies as The National Lyric Opera, Dicapo Opera Theatre, One World Symphony, and JABEN USA, and ventured into TV and Film with ORF Television, Mezzo Television, Sir Murray Productions, and Pristine Pictures, where her vocal performance was included at the Cannes and Toronto Film Festivals for the film “Hollywood Heroine” in 2008. www.RebeccaGreenstein.com

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CAROLINE MILLER
​
As a soprano, aerialist, and cruise entertainer, Caroline Miller dazzles audiences with her vocal flexibility, dramatic intensity, and comedic flair. From 2021 - 2024, she appeared with Princess Cruises as a Guest Soprano in their production show Bravo, and now she appears on cruise lines like Celebrity, American Cruise Lines and Seabourn presenting her solo shows, Judy, Julie and Me and Divas. 

Her commitment to interpreting new operatic works and collaborating with composers is evident in her premieres of roles like Lipstick in Fizz and Ginger by Whitney George and Bea Goodwin, Verlena Sue in A Wake or A Wedding by Richard Pearson Thomas and GH in The Passion According to GH by Lacy Rose. Caroline's operatic journey spans from Juliana in Argento's The Aspern Papers to Valencienne in Franz Lehár’s The Merry Widow. She has appeared with symphonies, opera and theater companies across the US including Toledo Opera, where she was also a resident artist, Ohio Light Opera, Chelsea Opera, Bard Opera, Surflight Music Theater and the American Symphony Orchestra. 

Caroline is also an experienced creator and producer in her own right. She Co-founding The Pleiades Project expanded her creative horizons as a director, writer, programmer, and producer, crafting impactful video productions like Così and Pleiades | 24, several of which were selected to be featured in Film Festivals. She has also served as a consultant for Blackburn International as they have created new production shows for Holland America celebrating the music and culture of some of their destinations. 

Her dedication to pushing artistic boundaries extends to the circus and aerial arts, seamlessly integrating them into her opera and film work, as seen in projects like Aber, a short film of a silks duet to a re-orchestrated “Ihr habt nun traurigket.” With degrees in English Literature and Music from Washington University in St. Louis, and a Masters in Music from the Eastman School of Music, Caroline is based out of Upper Manhattan, where she continues to inspire audiences with her multi-disciplinary approach alongside her unimpressed pitbull, Maya Angelou. 

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DANIELLE WRIGHT

Danielle Wright (they/xe), a visionary in the opera world, is the Founder and Artistic Director of Opera MODO, a pioneering organization based in Detroit, recognizing the need for a platform that nurtured emerging artists outside of institutional structures. With MODO, Danielle has led a revolution in opera performance, presenting captivating renditions of both classic and contemporary works since its establishment in 2011.

As an accomplished singer, Danielle has graced stages across the United States, London, and Berlin, exemplifying their commitment to maintaining an active stage career. Not content to simply perform, Danielle has championed the importance of artist-led initiatives by forging meaningful partnerships with prestigious institutions such as the Detroit Institute of the Arts and the Detroit Symphony Orchestra. Danielle Wright continues to shape the landscape of opera. As the Artistic Director and Founder of MODO, they have created a thriving community where emerging artists can find opportunities to grow artistically and gain vital stage experience, all while pushing the boundaries of what opera can be.​
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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. 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.” 
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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; and numerous operatic concerts in the Choriner Opernsommer. She is a frequent interpreter of the music of American expatriate composer Paul Bowles. 
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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.



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