Noted for her lyrical pathos and comedic flair, mezzo-soprano Brittany Fowler has been praised by the New York Times for her “dynamically fluid characterization”. In recent seasons she portrayed the Mother (Amahl and the Night Visitors) at the Church of the Transfiguration’s Candlelight Christmas Concert, La maestra delle novizie (Suor Angelica) with Golden Rose Opera Works, Second Witch (Dido and Aeneas) with Utopia Opera, and Ottavia in an excerpt from L’incornazione di Poppea with the New York Continuo Collective. As a Young Artist with the Boston Early Music Festival, she covered the role of Melanto in their new production of Monteverdi’s Il ritorno d’Ulisse in patria. 

In early 2017 she made her acting (and theatrical climbing) debut in the dual roles of Stephanie and Claudia in Robin Fusco’s To New Heights, a site-specific play of short climbing vignettes based on real stories staged at Brooklyn Boulders Queensbridge. Upcoming musical engagements this year include Larina (Eugene Onegin) with Utopia Opera, Pergolesi’s Stabat Mater with the Elysium String Quartet in Pennsylvania, and Despina (Three Little Pigs) with Prelude Opera.

Previously in 2014 – 2015 her appearances included Reuben (Frank Bridge’s The Christmas Rose) with enCANTA Collective, Caccini’s Le Nuove Musiche with New York Continuo Collective, La tasse chinoise (L’enfant et les sortilèges) with Utopia Opera, and Mercédès (Carmen) with Golden Rose Opera Works.

In the 2013 Brittany returned to Opera North in New Hampshire to portray Meg (Adamo’s Little Women) and Liat (South Pacific).  With Utopia Opera she sang Lady Angela (Patience) and Martine (Gounod’s Le médecin malgré lui), and as a Semi-Finalist in the 2014 Joy in Singing Competition, she appeared in an art song masterclass, singing works by Respighi, Schubert, and Bolcom. Later that season she sang the title role in extended excerpts of Cavalli’s La Calisto with the New York Continuo Collective and in August participated in the 5th International Pietro Antonio Cesti Competition for Baroque Opera at the Innsbruck Festival of Early Music in Austria.

She has collaborated in several world premiere productions, most notably originating the role of Soon-Yi in Morningside Opera’s critically-acclaimed production of ¡Figaro! (90210).  With the Brooklyn Philharmonic she sang Slobodke in Misha Dutka’s Liebovar and appeared with Chelsea Opera in Matthew Harris’s The Mark of Cain.

Previous engagements include Amastre (Xerxes) with Dramma per Musica at the Sea Change Theatre in Beverly, Massachusetts, and during her first season at Opera North, she portrayed the Woodpecker (The Cunning Little Vixen) and covered Lady Thiang (The King and I). Other prior roles include Dorabella (Così fan tutte), Zerlina (Don Giovanni), La Musica (L’Orfeo), Giannetta (L’elisir d’amore), and La Suora Infermiera (Suor Angelica).  A frequent collaborator with the New York Continuo Collective since 2011, she has performed in various concerts devoted to the works of early baroque, and at the 2013 Boston Early Music Fringe Festival she was featured as La Folie in their French baroque pastiche, L’Amour et La Folie.

Brittany received her Bachelor of Arts in Music and Italian Studies from Wesleyan University in Connecticut, where she was the recipient of the Scott Prize for Romance Languages and the Cardinal Community Award for Music. Her training includes two seasons as a Young Artist with Opera North as well as extended studies at the University of Bologna in Italy through the Eastern College Consortium.