I make opera. I also build organizations, direct productions, advocate for who gets to stand on the stage and whose stories get told, and am raising three sons in the Pacific Northwest and Barcelona.

 

In the 2025-2026 season I conceived and directed the Vox Project with Rising Waters Collective, a first-of-its-kind opera crawl featuring six unique site-specific interpretations of Poulenc's La voix humaine across Seattle in a single day, including a film version released on streaming platforms. I am also performing the protagonist role in the North American premiere of disPLACE, a contemporary chamber opera addressing displacement and cultural identity, in co-production with Theatre Off Jackson in Seattle's International District.

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Over more than twenty years I have performed principal roles on stages across Europe, the United States, and the Middle East, including seven seasons as a principal mezzo-soprano at the Deutsche Oper Berlin. My repertoire defies easy categorization, spanning lyric, dramatic, and character mezzo territory into Falcon soprano, from Strauss and Wagner to Britten, Janáček, Bizet, and Fauré, and I would not have it any other way. I am drawn to characters who are complicated, contradictory, and impossible to reduce, and to music that looks like it shouldn't work until suddenly it does. Some of the roles that I've loved performing: Komponist (Ariadne auf Naxos), Mère Marie (Dialogues des Carmélites), Mistress Quickly (Falstaff), Venus (Tannhäuser), Kundry (Parsifal), The Fox (The Cunning Little Vixen), Le Prince Charmant (Cendrillon), Fricka (Das Rheingold and Die Walküre), Erda (Götterdämmerung), Zia Principessa (Suor Angelica), Zita (Gianni Schicchi), Erste Norn (Die Götterdämmerung), and the title roles in Carmen, Lucretia (The Rape of Lucretia), Casandra (Gnecchi), Pénélope (Fauré), and Hänsel (Hänsel und Gretel). The roles I have sung so mamy times I could sing them and every other ole in the opera backward and in my sleep? Flora ("amici") and Dritte Dame. 

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In 2024 I co-founded Rising Waters Collective, a Seattle-based chamber opera organization built around site-specific work, women composers and librettists, and community-rooted storytelling. As Managing Director of Pacific MusicWorks and Guest Co-Director of Seattle Art Song Society, I led organizational strategy, production, and programming with a consistent focus on new work, innovative performance contexts, and expanding who feels welcome in the concert hall.

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My approach to direction is rooted in collaboration and exploration.  I arrive with a framework, a set of questions, and a deep trust in the artists I work with to bring their own perspectives, experiences, and instincts to the work. What moves me most in the rehearsal room is the vulnerability performers offer when they fully commit to a role. That vulnerability is where stories find their truth, and I consider it a privilege to hold that space with them.

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I hold a BA in Opera Performance from the Royal Northern College of Music in Manchester and a Master of Science in Arts and Cultural Management from the Universitat Internacional de Catalunya in Barcelona. I am currently a PhD candidate at UIC, researching how institutions approach the representation of women conductors and music directors in symphony orchestras and opera houses worldwide, examining the effectiveness of current strategies and developing an evaluative framework to measure impact.

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I have been recognized by Sarasota Opera, the Opera Foundation, the Miami Music Festival, and the Seattle Opera Guild, and am a former Young Artist of Seattle Opera, Sarasota Opera, and the Britten-Pears Programme in Aldeburgh, UK.

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When I am not on stage or in rehearsal, you can find me somewhere in the mountains or on the water with my three sons, or deep in a science fiction rabbit hole.