Opera Frontier delights both opera fans and opera-phobes. We revere opera. We faithfully excerpt from traditional scores and strive for technically excellent singing. But beyond that, we take outrageous liberties in the service of engaging our audience in unexpected ways . . . through radical changes of context and casting, through the introduction of elements from dance, popular culture, contemporary beat, and narrative. In this way, Opera Frontier redefines the way an audience experiences this glorious music.


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Opera Frontier delights both opera fans and opera-phobes. We revere opera. We faithfully excerpt from traditional scores and strive for technically excellent singing. But beyond that, we take outrageous liberties in the service of engaging our audience in unexpected ways . . . through radical changes of context and casting, through the introduction of elements from dance, popular culture, contemporary beat, and narrative. In this way, Opera Frontier redefines the way an audience experiences this glorious music.

 

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Opera Frontier's Troupe of "choreographable" classically-trained singers perform its portable revue throughout the Bay Area and Northern California. To discuss featuring OFT at your event or for more information, contact

Scout@OperaFrontier.org

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heidi moss




  • featured in:

    * lammermoor inc.
    * opera frontier @ palace II


  • Heidi Moss (Soprano) created the role of Letty in the workshop production of Opera Frontier's original opera Lammermoor, Inc, a Business Tragedy in 2010. Heidi relocated to the Bay Area from NYC in 2003 and has performed with area companies such as West Edge Opera, Ensemble Parallele, Festival Opera, Pocket Opera, Livermore Opera, Fremont Symphony, Oakland Symphony, Sacramento Choral Society, West Bay Opera, and the San Francisco Lyric Opera. She also has been a part of the San Francisco Opera family as Rosina in their outreach production of The Barber of Seville and with the Adler Fellows in a premiere of Gang Situs opera The Grand Seducers. She also worked with composer/benefactor Gordon Getty to record his new opera Usher House with both the San Francisco Opera Orchestra and the Russian National Orchestra. She was also thrilled to be a part of Ensemble Paralelle and SF MoMA's groundbreaking production of 4 Saints in 3 Acts in August of 2011.

    Before moving to the Bay Area, Heidi studied Music and Biology at Oberlin College and Conservatory of Music.  She performed with the renowned maestro Robert Spano as Papagena in The Magic Flute and also with New York City Opera conductor Scott Bergeson as Mlle. Silberklang in The Impresario.  She made her regional house debut as Oscar in Un Ballo in Maschera with Opera Memphis in February, 2003, for which she received rave reviews.  In 2001 she traveled to Italy for the prestigious IVAI program, where she performed the role of Susanna in Le Nozze di Figaro under the baton of Metropolitan Opera coach and pianist Kevin Murphy, husband of soprano Heidi Grant Murphy.

    Heidi loves contemporary music, and tries to program new or current works whenever possible. In addition to being a member of the CMASH consortium, she has worked in conjunction with Jake Heggie, Daron Hagen, Gilda Lyons, Luciano Chessa, Gordon Getty, Dusan Bogdanovic, Peter Salvi, Henry Mollicone, Luna Pearl Woolf, Liam Wade, Kurth Erickson, and others and hopes to foster new relationships with composers to realize their visions.

    In addition to an active musical life, Heidi continued her biological studies and spent many years working as a research scientist, most recently at Rockefeller University. She published her data in many prestigious journals including a landmark paper which was featured in The New York Times in 1999. In an additional fusion of science and music, she was privileged to be the regularly hired soprano by nobel laureate Dr. Jim Watson, of double-helix fame, giving concerts at his numerous events and benefits.

    Heidi is the proud mother to two amazing girls: Ava and Hana.  Unfortunately, Heidi was stricken with a severe version of Bells Palsy in 2007 which left the right side of her face permanently partially paralyzed. She continues to sing despite her disability and is grateful to those who have given her the opportunity to return to the stage. 

    Her disability has inspired her to learn more about vocal physiology and pedagogy, particularly how it relates to facial musculature, and is on a new scientific venture in pursuit of this understanding. She has been blessed to have the support and advice of the late renowned pedagogue Richard Miller, and was fortunate to be in communication with him in his final months. In addition, her recent mentor, W. Stephen Smith, author of The Naked Voice has written a personal recommendation touting her teaching methods.

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