Anastasia Inniss is a versatile and multifaceted artist. Her work encompasses performance, education, directing, production and executive arts leadership. She 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 theatre and 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), 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'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 has held leadership positions in the arts for the last 15 years, She is the co-founder and artistic director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024 she create and direct the Lanzarote Opera Festival & Academy at the UNESCO-protected Jameos del Agua Auditorium Lanzarote. She is an ongoing content contributor for the Classical Singer Magazine writing articles on music education, institutionalized abuse in classical music and sustainability in the arts. Previously, she was the the founder and artistic director of the Berlin Song Festival and an artistic consultant for The Opera Stage.
Ms. Inniss is the recipient of numerous grants including the Neue Start Kultur Grant from the Deutscher Musikrat, the Dezentrale Kulturarbeit Reinickendorf Grant and the Centro de Arte, Cultura y Truismo Lanzarote Grant.
Among her directing credits are pieces such as Purcell's Dido & Aeneas, Jason Robert Brown's The Last Five Years as well as a wide range of scenes from the operatic and musical theatre repertoire. She has served as a casting director and producer for Strauss's Ariadne auf Naxos, 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 Rorem’s Our Town.
Ms. Inniss is a consummate educator with over 25 years of experience teaching voice, vocal pedagogy, vocal diction, opera and song repertoire, audition preparation, branding and marketing for classical music. She was taught at a college level as well as privately, in an individual and classroom settings. In the last 6 years, her focus has shifted to teaching professionals and emerging professionals. She has guided the voices of numerous transgender voice professionals and is particularly adept to training voices with complex landscape.
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, produced and hosted Trans*Voices - a series of masterclasses and performance opportunities for transgender and non-binary artists. As part of her work as artistic director of the Dramatic Voices Program Berlin has been recognising and creating scholarship opportunities for under-represented communities in classical music and opera.
Ms. Inniss lives in Ireland with her husband. She also has strong professional ties to Germany, United States and the Canary Islands. She is obsessed with open waters swimming and experimental cooking.
In addition to her theatre and 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), 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'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 has held leadership positions in the arts for the last 15 years, She is the co-founder and artistic director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024 she create and direct the Lanzarote Opera Festival & Academy at the UNESCO-protected Jameos del Agua Auditorium Lanzarote. She is an ongoing content contributor for the Classical Singer Magazine writing articles on music education, institutionalized abuse in classical music and sustainability in the arts. Previously, she was the the founder and artistic director of the Berlin Song Festival and an artistic consultant for The Opera Stage.
Ms. Inniss is the recipient of numerous grants including the Neue Start Kultur Grant from the Deutscher Musikrat, the Dezentrale Kulturarbeit Reinickendorf Grant and the Centro de Arte, Cultura y Truismo Lanzarote Grant.
Among her directing credits are pieces such as Purcell's Dido & Aeneas, Jason Robert Brown's The Last Five Years as well as a wide range of scenes from the operatic and musical theatre repertoire. She has served as a casting director and producer for Strauss's Ariadne auf Naxos, 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 Rorem’s Our Town.
Ms. Inniss is a consummate educator with over 25 years of experience teaching voice, vocal pedagogy, vocal diction, opera and song repertoire, audition preparation, branding and marketing for classical music. She was taught at a college level as well as privately, in an individual and classroom settings. In the last 6 years, her focus has shifted to teaching professionals and emerging professionals. She has guided the voices of numerous transgender voice professionals and is particularly adept to training voices with complex landscape.
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, produced and hosted Trans*Voices - a series of masterclasses and performance opportunities for transgender and non-binary artists. As part of her work as artistic director of the Dramatic Voices Program Berlin has been recognising and creating scholarship opportunities for under-represented communities in classical music and opera.
Ms. Inniss lives in Ireland with her husband. She also has strong professional ties to Germany, United States and the Canary Islands. She is obsessed with open waters swimming and experimental cooking.
