Angela L. Owens

About Angela

Internationally recognized for her “beauty and musicality” (The London Times), as well as her “attractively full-bodied, passionate soprano voice” (Opera News), Angela L. Owens is an in-demand performance artist, educator, and clinician. Recent engagements include Ralph Vaughan Williams’ Serenade to Music with the Long Lake Music Festival and Solange Knowles’ curated concert series Glory to Glory for the Brooklyn Academy of Music.

Owens regularly premieres commissions of new works, including Dorothy Rudd Moore’s opera, Papa Doc for Trilogy Opera Company, Sxip Shirey’s The Gauntlet with National Sawdust at Rockefeller Center, and debut performances of Pulitzer Prize-winning composer David Lang’s Mile-Long Opera on the Highline in New York City. She also debuted the role of "Maxine McNair" in Richard Pearson Thomas’s Blood of Angels for Manhattan School of Music sponsored by American Opera Projects, as well as the Composers Now Festival with conductor Tania León.

Internationally, she has appeared at the La Folle Journeé festival with the world-renowned American Spiritual Ensemble, and with the Szeged Symphony Orchestra, singing the role of "Bess" in Gershwin’s Porgy and Bess. Further operatic appearances have followed at Dallas Opera, Atlanta Opera, and at the Opéra Comique in Paris.

Owens' versatility has produced proud achievements in musical theatre as well: regional credits include "Mrs. Brown" in Me and My Gal, "Hattie" in Kiss Me Kate, "Susannah" in Tintypes, "Belladova" in Phantom of the Opera, and "Josephine Baker" in the world premiere of Dodsworth with Hal Linden at Fort Worth’s Casa Mañana Theater.

In television, Owens' credits include Investigation Discovery’s Shadow of Doubt and The Perfect Murder; CBS’s Bull; and Netflix’s Luke Cage.

Owens is a former member of the voice faculty at Wagner College in New York and currently teaches voice at the University of Wisconsin (Parkside), as well as maintaining a private voice studio.

I aim to explore, enhance and expand the distinctive artistic attributes possessed by each student. I also enable my students to critically evaluate performance practice and vocal pedagogy, empowering them to link theory and practice to the professional world.