Acclaimed for her “fierce soprano with intense high notes,” dramatic soprano Ashley Becker has been praised by The New York Times for her “lovely, fully supported sound and thoughtful, nuanced phrasing.” Equally at home in Wagner, Puccini, contemporary opera, and symphonic repertoire, Becker brings vocal power, clarity, and dramatic specificity to some of opera’s most demanding repertoire.

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Recent 2025 engagements include Helmwige in Act II of Die Walküre and additional operatic excerpts for Opera San Luis Obispo’s New Year’s Eve Gala, Beethoven’s Ninth Symphony with Rockford Symphony Orchestra, and the Mother/Witch in Hansel & Gretel with Opera Modesto. In 2024, she performed arias from La fanciulla del West, Manon Lescaut, and Tosca for Opera Vermont’s Puccini Centennial Gala and sang Madame Lidoine in Dialogues des Carmélites with Independent Opera Company.

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As Aunt Lydia in Poul Ruders’ The Handmaid’s Tale with Glow Lyric Theatre, OperaWire wrote that “Becker’s voice exhibited impeccable control over the extremes of her range.” Her title-role Tosca with Opera51 was praised by the Boston Musical Intelligencer as “warm, vulnerable,” summoning “images of Desdemona and Butterfly.”

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Becker has performed the title role of Turandot with Opera51 and internationally with Severočeské divadlo in the Czech Republic. Other roles include Amelia in Un ballo in maschera, Isabella in Das Liebesverbot with Cambridge Chamber Ensemble, and Suor Angelica. She created Olympe de Gouges in the world premiere of Girondines with Wilmington Concert Opera, later reprising the role for its West Coast premiere with Mission Opera. In 2024, she also created the role of the Giantess Merilee in the world premiere of Evan Meier’s Sherlock Holmes and the Case of the Fallen Giant with Opera Modesto.

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Her performances have taken her across the United States and internationally, with appearances in Europe, Canada, and Asia.