Recognized as “a crystalline lyric soprano and a superb singing actress” by Seen and Heard International, soprano Amber R. Monroe’s 2025–2026 season sees her role debut in the title role of Francesca Zambello’s production of Aida with Washington National Opera, as well as her European debut in the same role with Theater St. Gallen in a new production by Ben Baur house. Ms. Monroe also makes her house debuts with Seattle Opera, San Diego Opera, and Portland Opera singing Mary Johnson in Fellow Travelers, and covers the role of Sister Rose in Dead Man Walking with San Francisco Opera. Concert work includes Handel’s Messiah with the Chattanooga Symphony.
The 2024–2025 season saw her return to Washington National Opera in the role of Serena in Francesca Zambello’s production of Porgy and Bess at the Kennedy Center, and to Pensacola Opera as Nedda in Pagliacci. She also sang the role of High Priestess and covered the title role in Aida with both the Baltimore Symphony, conducted by John Heyward, and Dayton Opera. Additional debuts included with the Boston Symphony Orchestra as Lucienne in Korngold’s Die Tote Stadt, conducted by Andris Nelsons; the National Philharmonic singing Verdi’s Requiem; and with the New Jersey Symphony singing a concert of Gershwin with Paquito D’Rivera.
Additional operatic highlights include Donna Elvira in Don Giovanni with Opera Columbus; Nedda in Pagliacci with the Glimmerglass Festival and El Paso Opera; Countess Almaviva in Le nozze di Figaro at Kentucky Opera; Clara in Porgy and Bess with Opera Western Reserve; Esther in Ricky Ian Gordon’s Intimate Apparel with Arizona Opera; and Mimì in La bohème with the Chattanooga Symphony. Ms. Monroe originated the role of Clarissa in the world premiere of Gregory Spears’s Castor and Patience with Cincinnati Opera and performed the title role in the Midwest premiere of Nkeiru Okoye’s Harriet Tubman: When I Crossed that Line to Freedom with Cleveland Opera Theater. She has also workshopped Jeanine Tesori’s Blue at The Glimmerglass Festival and Kevin Puts’s The Hours, commissioned by The Metropolitan Opera.