Anastasia Inniss

Voice tutor

Anastasia Inniss is a commanding performer and visionary arts leader whose career is defined by a rare and deliberate duality. For over 20 years, she has worked simultaneously as a performing artist, an educator and as an executive arts leader and producer.

As a performing 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).

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 Gebohren 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). In 2027, Anastasia will be co-writer, co-producer and performer in a new piece for theatre and live music exploring the life and work of Alma Mahler.

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 allen 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'Allegro, 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.

Her concert work ranges widely across art song and chamber music repertoire, in recital and with instrumental ensembles.

As an educator with over 20 years of experience, Anastasia has taught voice in conservatoires, opera academies and private studios in the United States, Germany, the United Kingdom, Spain and Ireland. She was vocal pedagogue, stage director and assistant chair of the Musical Theatre Department at Die Etage - Schule für die darstellenden und bildenden Künste e. V., and is the Artistic Director of Music for Wexform. She has particular expertise and aptitude in guiding singers through vocal change — physiological transitions, recovery from vocal trauma, and re-stabilisation of the voice during hormone therapy. Anastasia has given masterclasses across Europe and the United States, most recently in music schools in Kildare and Kilkenny, Ireland, and a residency at the Academy of Music, Dance and Fine Arts, Plovdiv, Bulgaria.