Anastasia Inniss is a commanding performer and visionary arts leader whose career is defined by a rare and deliberate duality. For over 25 years, she has worked simultaneously as an active performing artist and as an executive arts leader and producer — building the infrastructures that make ambitious programming possible while sustaining an international performance career. The result is a rare insider fluency: her leadership is animated by the performer's instinct, and her artistry is sharpened by the executive's grasp of what it takes to bring ambitious work to life — a single, deeply integrated practice spanning Europe and the United States.
As a perfrorming artist, Anastasia has appeared in leading roles across major festivals and opera companies, including Judith in Bartok's A kékszakállú herceg vára (Grimeborn Opera Festival London); Woglinde in Wagner's Das Rheingold (Berliner Wagner Gruppe); Elsa in Wagner's Lohengrin (Berliner Wagner Gruppe); Ariadne in Strauss's Ariadne auf Naxos (Edinburgh Fringe Festival), Violetta in Verdi's La Traviata (Central Florida Lyric Opera; New London Opera Players, Fine Arts Chorale & Orchestra) Governess in Britten's Turn of the Screw (Opera Seria), Donna Anna in Mozart's Don Giovanni (Opera Seria, Edinburgh Fringe Festival), Nedda in Leoncavallo's Pagliacci (Central Florida Lyric Opera), Micaëla and Frasquita in Bizet's Carmen, under the directorship of late legendary soprano Licia Albanese (Central Florida Lyric Opera); Contessa in Mozart's Le nozze di Figaro (Central Florida Lyric Opera), Serpina in Pergolesi's La serva padrona (Berliner Philharmonie, concertante.
Anastasia is an 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's multi-media 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's Jauchzet Gott in alles Landen (Berliner Philharmonie), Ich geh und suche mit Verlangen (Galerieforum am Meer), Mein Herze schwimmt im Blut (Old North Concert Series), Weihnachtsoratorium ( (Old North Chorus & Orchestra), Magnificat in D (Fine Arts Chorale), Missa brevis in A (Fine Arts Chorale); Mozart's Requiem (Berliner Philharmonie, Fine Arts Chorale, Berliner Dom), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players, Brandenburgisches Orchester), L'Allego, il Pensieroso, ed il Moderato (Berliner Philharmonie); Pergolesi Stabat mater (Berliner Philharmonie); Schubert's Mass in G (Highnam Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi's Gloria (Old North Concert Series); Vaughan Williams's 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's Bachianas Brasilieras No.5 (Kirchberg Chamber Music Festival) among others.
As a perfrorming artist, Anastasia has appeared in leading roles across major festivals and opera companies, including Judith in Bartok's A kékszakállú herceg vára (Grimeborn Opera Festival London); Woglinde in Wagner's Das Rheingold (Berliner Wagner Gruppe); Elsa in Wagner's Lohengrin (Berliner Wagner Gruppe); Ariadne in Strauss's Ariadne auf Naxos (Edinburgh Fringe Festival), Violetta in Verdi's La Traviata (Central Florida Lyric Opera; New London Opera Players, Fine Arts Chorale & Orchestra) Governess in Britten's Turn of the Screw (Opera Seria), Donna Anna in Mozart's Don Giovanni (Opera Seria, Edinburgh Fringe Festival), Nedda in Leoncavallo's Pagliacci (Central Florida Lyric Opera), Micaëla and Frasquita in Bizet's Carmen, under the directorship of late legendary soprano Licia Albanese (Central Florida Lyric Opera); Contessa in Mozart's Le nozze di Figaro (Central Florida Lyric Opera), Serpina in Pergolesi's La serva padrona (Berliner Philharmonie, concertante.
Anastasia is an 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's multi-media 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's Jauchzet Gott in alles Landen (Berliner Philharmonie), Ich geh und suche mit Verlangen (Galerieforum am Meer), Mein Herze schwimmt im Blut (Old North Concert Series), Weihnachtsoratorium ( (Old North Chorus & Orchestra), Magnificat in D (Fine Arts Chorale), Missa brevis in A (Fine Arts Chorale); Mozart's Requiem (Berliner Philharmonie, Fine Arts Chorale, Berliner Dom), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players, Brandenburgisches Orchester), L'Allego, il Pensieroso, ed il Moderato (Berliner Philharmonie); Pergolesi Stabat mater (Berliner Philharmonie); Schubert's Mass in G (Highnam Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi's Gloria (Old North Concert Series); Vaughan Williams's 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's Bachianas Brasilieras No.5 (Kirchberg Chamber Music Festival) among others.
An accomplished executive arts leader, producer, and educator, Anastasia is the founder of Un-Muted Productions, a production company dedicated to new works and long-forgotten gems by female composers, employing cutting-edge technology and non-traditional venues to bring the art form to new audiences. She also founded and served as Artistic Director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024, she was awarded a grant from Centros de Arte, Cultura y Turismo Lanzarote to establish and direct the Festival de Ópera & Academia Lanzarote at the UNESCO-protected Jameos del Agua Auditorium. She has also served as artistic director of the Berlin Song Festival, director of education for The Opera Stage. Anastasia previously served as EU Leader for Classical Singer Magazine, where she built EU-wide industry relationships. She continues to write for the magazine, covering topics on sustainability and access in classical music. She has also worked for Gracenote and Harvard University.
Anastasia's leadership work centers on equity and innovation in opera and classical music. She has co-produced initiatives like Trans*Voices—a fully funded tuition-free series of masterclasses and concerts for transgender and non-binary artists—and has led scholarship programs for underrepresented communities. Her directing credits span opera, music theatre, and concert works. She has also worked as a casting director, producer, and costume designer.
Producing and casting work includes: Strauss's Ariadne auf Naxos, Berlin, Germany; Strauss's Elektra, Berlin, Germany;(The Folk Song Project – Folk Songs for Voice and Steel Drum, Berlin, Germany; Wagner's Die Walküre (multi-media film); Gebohren Alma Schildler: theatre piece based on the Mahler’s Rückert Lieder, Berlin, Germany; Wagner's Die Walküre, Berlin, Germany; Wagner's Das Rheingold, Berlin, Germany; Trans*Voices Masterclasses & Galas, online; AIDS Quilt Songbook: German Edition, Berlin, Germany; Pathologies of the Image: Sound Installation, Berlin, Germany; Jason Robert Brown: The Last Five Years, Berlin, Germany.
Anastasia's work has been supported by grants from Centros de Arte, Cultura y Turismo Lanzarote, Deutscher Muskrat, Dezentrale kulturarbeit reinickendorf, Janet Irving Scholarship for Vocal Studies (Longy School of Music of Bard College),
Anastasia has made Ireland her home and maintains strong professional relationships in Germany, United Kingdom, Spain and the United States. With a foundation in music, theatre, and the visual arts, she brings a holistic, community-centered approach to her artistic and administrative work—one that reimagines the role of the arts in the community at large.
Anastasia's leadership work centers on equity and innovation in opera and classical music. She has co-produced initiatives like Trans*Voices—a fully funded tuition-free series of masterclasses and concerts for transgender and non-binary artists—and has led scholarship programs for underrepresented communities. Her directing credits span opera, music theatre, and concert works. She has also worked as a casting director, producer, and costume designer.
Producing and casting work includes: Strauss's Ariadne auf Naxos, Berlin, Germany; Strauss's Elektra, Berlin, Germany;(The Folk Song Project – Folk Songs for Voice and Steel Drum, Berlin, Germany; Wagner's Die Walküre (multi-media film); Gebohren Alma Schildler: theatre piece based on the Mahler’s Rückert Lieder, Berlin, Germany; Wagner's Die Walküre, Berlin, Germany; Wagner's Das Rheingold, Berlin, Germany; Trans*Voices Masterclasses & Galas, online; AIDS Quilt Songbook: German Edition, Berlin, Germany; Pathologies of the Image: Sound Installation, Berlin, Germany; Jason Robert Brown: The Last Five Years, Berlin, Germany.
Anastasia's work has been supported by grants from Centros de Arte, Cultura y Turismo Lanzarote, Deutscher Muskrat, Dezentrale kulturarbeit reinickendorf, Janet Irving Scholarship for Vocal Studies (Longy School of Music of Bard College),
Anastasia has made Ireland her home and maintains strong professional relationships in Germany, United Kingdom, Spain and the United States. With a foundation in music, theatre, and the visual arts, she brings a holistic, community-centered approach to her artistic and administrative work—one that reimagines the role of the arts in the community at large.
