Anastasia Inniss is a multifaceted artist whose career bridges performance and executive leadership in the classical music. 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 Neue Start Kultur Grants from the 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 the arts in today’s world.
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 Neue Start Kultur Grants from the 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 the arts in today’s world.
