Acclaimed for her “Fierce soprano with intense high notes” Ashley Becker has also been hailed by The New York Times for her “lovely, fully supported sound and thoughtful nuanced phrasing”. In her most recent role, Operawire noted “Becker’s voice exhibited impeccable control over the extremes of her range” as Aunt Lydia in Poul Ruders A Handmaids Tale with Glow Lyric Theatre in Greenville, SC. Ashley’s performances have been nationally praised for her vocal clarity and ability to capture the emotional nuances of complex roles.
Ashley returned to Opera51 in June, 2023 to sing the title role in Tosca and the Boston Musical Intelligencer noted the versatility of her performance: “Her warm, vulnerable Tosca summoned images of Desdemona and Butterfly”. In October 2023, Ashley reprised the role of Olympe de Gouges in the West Coast premiere of Girondines with Mission Opera, and in January 2024 Ashley joins Modesto Opera as the Giantess Merilee for the world premier of Evan Meier’s Sherlock Holmes and The Case of the Fallen Giant.
In 2022, Ashley performed the title role of Turandot with Opera51 in Boston, MA and created the role of Olympe de Gouges in the world premier of Girondines with Wilmington Concert Opera. She also joined the Bellingham Symphony Orchestra as the soloist for Bernstein’s Jeremiah.
Other recent past engagements include the role of Krystyna in Jake Heggie's Two Remain with Lyric Opera of Orange County, the leading role of Isabella in Wagner’s rarely performed Das Liebesverbot with the Cambridge Chamber Ensemble in Boston, MA and Senta in scenes from Die Fliegender Holländer with Wilmington Concert Opera, from the Kalmar Nyckle tall ship in Wilmington, DE harbor.
"Becker’s voice exhibited impeccable control over the extremes of her range. She showed off her fierce soprano with intense high notes, contrasted by the darkness in her lower register. This mixed with her precise sergeant-like movements to create a believable and well-performed character”
"Ashley Becker as Rosalinde, used her rich flexible captivating soprano in her Hungarian Gypsy song “Czardas,” ending with a brilliantly sustained high note...Ms. Becker is a “super” talent."
"As Amelia, object of the King's affections, Ashley Becker gave a performance that walked the line between bel canto tone and spinto power, singing her great scene in the second act with real human emotions and even managing Verdi's few, but challenging low notes."
"Ashley Becker, another fine soprano, presented "The harvest of sorrow" and "The pied piper," both by Rachmaninov. Becker's vocal coloration is already well-developed, and as soon as she spoke, this reviewer wanted to hear her sing Puccini as well as Russian works"— M. Rogers, BroadwayWorld.com
"Soprano Ashley Becker aired out the moody intensity of two songs from Andre Previn's score to A Streetcar Named Desire: the uneasy Sea Air, and a sultry take of I Want Magic."
— A Streetcar Named Desire, One World Symphony