Ashley
Armstrong

Mezzo-Soprano

Ashley Armstrong

Mezzo-Soprano

Praised for her “charismatic presence” (Chicago Classical Review) and “velvety voice” (Chicago Tribune), “powerhouse mezzo-soprano” Ashley Kay Armstrong’s “star power” (Picture this Post) “lights up the stage” (The Gazette) while winning over the hearts of audiences throughout the nation.

Media

Video

Una voce poco fa

Il barbiere di Siviglia (Rossini)

Eugene Onegin (Tchaikovsky)

from Madama Butterfly

(She/Her) Praised for her “charismatic presence” (Chicago Classical Review) and “velvety voice” (Chicago Tribune), “powerhouse mezzo-soprano” Ashley Kay Armstrong’s “star power” (Picture this Post) “lights up the stage” (The Gazette) while winning over the hearts of audiences throughout the nation.

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Career Highlights/Education

Boheme Opera NJ

Principal Artist, 2023

Toledo Opera

Principal Artist, 2023

Management

Encompass Arts, New York, NY

Kathy Olsen

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Encompass Arts, New York, NY

Kathy Olsen

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Schedule

Recent Highlights

Madama Butterfly

Suzuki

Boheme Opera NJ

Rusalka

Third Wood Sprite

Opera Idaho

TBA

Performer

Toledo Opera

As One

Hannah After

Opera Santa Barbara

As One

Hannah After

Hawaii Performing Arts Festival

Little Women

Opera Santa Barbara

Hänsel und Gretel

Hänsel

Bel Cantanti Opera

Carousel

Carrie Pipperidge

Cedar Rapids Opera Theatre

Madama Butterfly

Suzuki

Cedar Rapids Opera Theatre

La bohème

Musetta

Opera Idaho

Dead Man Walking

Sister Lillianne

Opera Idaho

Le docteur Miracle

Véronique

Opera Santa Barbara

Eugene Onegin

Olga

Opera Santa Barbara

Threepenny Opera

Jenny Diver

Cedar Rapids Opera Theatre

Manon

Javotte

Opera Idaho

The Crucible

Rebecca Nurse

Opera Santa Barbara

La bohème

Musetta

Opera Santa Barbara

Brigadoon

Meg Brockie

Cedar Rapids Opera Theatre

Biography

In her 2022/2023 season, Mezzo-soprano, Ashley Kay Armstrong, reprises Hannah After in Kaminsky’s As One as a guest artist with Hawaii Performing Arts Festival and makes her debut with Boheme Opera New Jersey as Suzuki in Madama Butterfly. She appears again as Hannah After with a company TBA during the 2023/2024 season. During the 2021/2022 season, Ms. Armstrong debuted with North Shore Music Festival as The Mother in Amahl and the Night Visitors and returned to Opera Santa Barbara for her role debut as Hannah After.

She closed out her 2020/2021 season as Hansel in her company debut with Bel Cantanti Opera in their filmed production of Hansel and Gretel, and was also featured as the Mezzo soloist for Cedar Rapids Opera’s Songs of Isolation and Connection. Additionally, she was scheduled to make her role debuts as Jo March in Adamo’s Little Women with Opera Santa Barbara (postponed due to Covid-19); and Carrie Pipperidge in CRO’s production of Carousel (cancelled due to Covid-19). During her 2019/2020 season as an Emerging Artist with Opera Idaho, she made her role debut as Javotte in Manon, covered Musetta in La Bohème, and was scheduled to sing Sister Lilliane, and cover Sister Helen Prejean in Dead Man Walking (cancelled due to COVID-19). She also made her role debut as Kate Pinkerton in Madama Butterfly with CRO and was honored as a Semi-Finalist for the American Prize in Art Song.

Her other notable appearances include Olga/Eugene Onegin, Rebecca Nurse/The Crucible, Véronique/Le docteur Miracle, Jenny Diver/The Threepenny Opera, Meg Brockie/Brigadoon; Lucrezia/Lucrezia (Bolcom); Alto/Song from the Uproar (Mazzoli); The Wife/The Women (Pasatieri); Suzette/Bluebeard’s Waiting Room (Granger); and Ottavia/L’incoronazione di Poppea.

Currently a student of Allan Glassman, Ms. Armstrong is managed by Encompass Arts. She holds a Master of Music in Vocal Performance from the Chicago College of Performing Arts, and a Bachelor of Arts in Vocal Performance and Theatre from the University of Northern Iowa, where studied with Jeffrey Brich. Also a student of yoga, Ms. Armstrong is a 200hr registered yoga teacher, fostering a curiosity for movement and body awareness in artists.

Press Quotes

"As Butterfly’s servant Suzuki, mezzo-soprano Ashley Kay Armstrong had mastered the art of being perfectly still and subservient yet was a fierce gatekeeper to Butterfly. Armstrong sang with a rich resonant sound throughout the role, and the Act II “Flower Duet” with Butterfly showed the voices of these characters to be perfectly blended."

— Nancy Plum, Town Topics

"Vocally, the company is a gem. Each voice is clear and expressive. The singers, to a person, create a purity of sound that enhance Puccini’s melodies and make harmonies, particularly between [Ashley Bell and Ashley Kay Armstrong] playing Butterfly and Suzuki, a delight...Ashley Kay Armstrong exudes dedication as Suzuki, who speaks out to Butterfly and appeals to others to try to save her mistress from the sadness that comes from her misunderstanding and faith in a happy conclusion. You can see the burden Suzuki has, particularly in scenes when Suzuki must watch stoically and dispassionately as reality unfolds or Butterfly is being harmed in ways Suzuki, as a servant, cannot intervene to prevent."

— Neal Zoren, Community News

"As she should, Ashley Kay Armstrong, in the title role, rules."

— Deanna Isaacs, Chicago Reader