Anastasia Inniss is a versatile and multifaceted classical music artist. Her work encompasses performance, education, directing, production and executive arts leadership.
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 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.
n parallel with her work as a performer, Ms. Inniss has worked as an executive arts administrator and has held leadership positions in the arts for the last 15 years, both in Europe and in the United States. She is the co-founder and artistic director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024, she won a grant from Centros de Arte, Cultura y Turismo Lanzarote to create and direct the Academia de Ópera Lanzarote at the UNESCO-protected Jameos del Agua Auditorium Lanzarote. She is a content contributor for the Classical Singer Magazine writing articles on education and sustainability in classical music. Previously, she was the artistic director of the Berlin Song Festival and an artistic consultant for The Opera Stage. Ms. Inniss has co-produced and hosted numerous roundtable panel discussions on patterns of discrimination in classical music. In addition, she has spear-headed and produced the Trans*Voices - a series of masterclasses and performance opportunities for transgender and non-binary artists. Part of her work in arts leadership includes creating scholarship and educational opportunities for under-represented communities in classical music and opera.
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's 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, pedagogy, opera and song repertoire as well as audition preparation. 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.
Ms. Inniss started her arts education at the age of 5 studying piano, percussion and classical guitar. Her education also includes acting, improvisation, Latin and folk dance, visual arts and creative writing. She was educated at Longy School of Music at Bard College (Cambridge, Massachusetts, United States) as a recipient of the Janet Irving Scholarship for Vocal Studies. She is also a recipient of the Neue Start Kultur Grant from the Deutscher Musikrat and the Dezentrale Kulturarbeit Reinickendorf Grant.
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 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.
n parallel with her work as a performer, Ms. Inniss has worked as an executive arts administrator and has held leadership positions in the arts for the last 15 years, both in Europe and in the United States. She is the co-founder and artistic director of Opera Programs Berlin and Dramatic Voices Program Berlin. In 2024, she won a grant from Centros de Arte, Cultura y Turismo Lanzarote to create and direct the Academia de Ópera Lanzarote at the UNESCO-protected Jameos del Agua Auditorium Lanzarote. She is a content contributor for the Classical Singer Magazine writing articles on education and sustainability in classical music. Previously, she was the artistic director of the Berlin Song Festival and an artistic consultant for The Opera Stage. Ms. Inniss has co-produced and hosted numerous roundtable panel discussions on patterns of discrimination in classical music. In addition, she has spear-headed and produced the Trans*Voices - a series of masterclasses and performance opportunities for transgender and non-binary artists. Part of her work in arts leadership includes creating scholarship and educational opportunities for under-represented communities in classical music and opera.
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's 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, pedagogy, opera and song repertoire as well as audition preparation. 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.
Ms. Inniss started her arts education at the age of 5 studying piano, percussion and classical guitar. Her education also includes acting, improvisation, Latin and folk dance, visual arts and creative writing. She was educated at Longy School of Music at Bard College (Cambridge, Massachusetts, United States) as a recipient of the Janet Irving Scholarship for Vocal Studies. She is also a recipient of the Neue Start Kultur Grant from the Deutscher Musikrat and the Dezentrale Kulturarbeit Reinickendorf Grant.
