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”. Her interpretive work runs the gamut from medieval polyphony to experimental Gamelan operas, though in recent years she has focused on music from the early baroque and newer experimental vocal compositions. Her recent engagements include Dorothy Hindman’s Pillowbook with Fresh Squeezed Opera, Venere in the Cantanti Project’s L’Euridice, the alto soloist in Buxtehude’s Membra Jesu Nostra in Pennsylvania, La Beata Vergine in Sances’ Le Lachrime di San Pietro with the New York Continuo Collective, and First Lover/Evil Tongue 2 in a workshop of Kate Soper’s The Romance of the Rose. Her operatic roles include Larina (Eugene Onegin), Ottavia (L’incoronazione di Poppea), Meg (Little Women), The Mother (Amahl and the Night Visitors), and La Musica (L’Orfeo).  

She is an active member of Opera on Tap’s New York chapter, bringing opera to the masses in unconventional places, and the New York Continuo Collective.

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.

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, one season as a Young Artist with Boston Early Music Festival, and extended studies at the University of Bologna in Italy through the Eastern College Consortium.