Amy Owens is known for “high-flying vocals” and “scene-stealing” charisma on operatic and symphonic stages, as well as her innovative, multi-disciplinary pursuits in music entrepreneurship (Opera News). Her career has taken her to America’s most beloved venues, including the Kennedy Center, where her Fall 2019 debut as the soprano soloist in Carmina Burana under the baton of Gianandrea Noseda earned praise for “a perfect combination of purring, sensuous phrasing and pure-toned innocence” (Washington Classical Review). A favorite soloist for Carmina Burana, she has performed the work with the National Symphony, Omaha Symphony, Virginia Symphony, Buffalo Philharmonic, Mobile Symphony, and MidAmerica Productions at Carnegie Hall, and others. She is sought after to create roles for world premieres, including the title role in Augusta Read Thomas’ Sweet Potato Kicks the Sun with Santa Fe Opera in 2019, where she joined legendary beatboxer Nicole Paris in the groundbreaking initiative “Opera for all Voices.”

Her 2024-2025 Season began with her debut with the San Diego Symphony in Sondheim Tonight! with notable Broadway stars Santino Fontana, Emily Skinner, and Tony Yazbeck, followed by the world premiere of Zozobra: The Revenge, a musical tale commemorating the 100th anniversary of one of Santa Fe’s most spectacular traditions. In the Fall she returned to Utah Opera as Johanna in Sweeney Todd, and made her Nashville Opera debut in the world premiere of The Cook Off. A busy concert schedule included appearances with the Tallahassee Symphony, Des Moines Symphony, New Mexico Philharmonic, New Mexico Performing Arts Society, Moab Music Festival, Coro Lux, and the Brooklyn Art Song Society.

Her current season includes returns to her signtures roles of Carmina Burana with Boise Symphony, Santa Fe Symphony, and Des moines Symphony and Blondchen in Abduction from the Seraglio with Pacific Opera Project. She will return to Utah Symphony for their summer tour, as well as Carnegie Hall, Brooklyn Art Song Society, and the New Mexico Philharmonic for numerous concert and recital appearances. This spring she will sing the roles of Gym Instructor/Drunken Lady in the American premiere of Lorin Maazel's 1984 at the Castleton Festival. 

Amy’s 2023-2024 season included performances as Cunegonde in Candide alongside Kelsey Grammer at Wichita Opera, Johanna in Sweeney Todd with Virginia Arts Festival under the baton of Broadway’s Rob Fisher, and a return performance as the soprano soloist in Carmina Burana at the Kennedy Center with D.C. Choral Arts. Other performances included concerts with Lubbock Symphony Coro Lux, Brooklyn Art Song Society, as well as her conducting debut with the New Mexico Philharmonic.

Amy kicked off the 2022-2023 season performing  Grenados’ Canciones Amotorias with the Brooklyn Art Song Society, followed by her debut with Virginia Opera as Mabel in Pirates of Penzance, earning praise from Opera News for her “silvery, focused soprano caressing each melodic contour.” She appeared with the New Mexico Philharmonic in Beethoven Symphony No. 9, on tour with the Santa Fe Opera in The Telephone, and as Chrisann Brennan in The Revolution of Steve Jobs with Utah Opera.  As a principal artist for the 2023 season with Utah Festival Opera and musical theater, she played Emily in Our Town and Phoebe in Gentleman’s Guide to Love and Murder. In the 2021-2022 season, Amy made her debut with Chicago Opera Theater in Becoming Santa Claus under Lydiya Yankovskaya, and covered the roles of Controller and Tina in Dallas Opera’s production of Flight. She also appeared with Dayton Philharmonic and Lubbock Symphony, Oberlin Contemporary Music Ensemble, Brooklyn Art Song Society, and the Florida Keys Concert Association.

Other notable roles include Cunegonde in Candide with Utah Symphony, where she was praised for her “dazzling array of vocal abilities” and “remarkable acting talent,” Johanna in Sweeney Todd with Michigan Opera Theater, and Florestine in On Site Opera’s North American premiere of La mére coupable, a role Owens handled with “keen sensitivity,” “gleaming coloratura,” and “impressive accuracy and thrilling high notes” (Broadway World, Bachtrack, Musical America). A sought-after soprano for contemporary music, she created roles during the Metropolitan Opera workshop of Eurydice, multiple workshops with American Opera Projects She Houston Grand Opera, Opera America’s New Opera Showcase at Trinity Church NYC, The Intimacy of Creativity Festival in Hong Kong, and collaborates often the NYFOS Next series.

Amy was a resident artist with Utah Opera, Wolf Trap Opera, Santa Fe Opera, and Central City Opera, and was a grand prize recipient from the Sullivan Foundation in 2014. She also holds awards from the Jensen Foundation (2019 finalist) and Metropolitan Opera National Council (Eastern Region Finalist 2015). She is a multiple prize-winner with the George London Foundation and was a featured soloist on their recital series with Anthony Dean Griffey and Warren Jones in 2018.

As a multi-disciplinary artist, Amy performed at the 50th annual New Orleans Jazz Festival with renowned musician Glen David Andrews in the Blues Tent in 2019, and as a budding conductor, she was selected to participate in the Hart Institute for Women Conductors at Dallas Opera and the International Conducting Workshop Festival in Bulgaria. She released two collaborative albums in 2019: a debut album of original music, HAETHOR, which received acclaim in the electronica world as “an enchanted force” (Impose), and Songs of Leonard Bernstein, including previously unrecorded vocal music. Other discography includes her performance as Mater Gloriosa in Utah Symphony’s recording of Mahler Symphony 8 and in New York Festival of Song’s Picnic Cantata.

Amy enjoys developing her interests as a multi-genre vocalist, producer, conductor, accordion player, dancer, yogi, educator, writer, composer, and wellness advocate. She holds a M.M. degree in vocal performance from Rice University and a B.M. in vocal performance from Brigham Young University.