About

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“A stalwart contributor to the contemporary opera scene” (Opera Ithaca), Mila Henry is an integral member of New York’s music theater community. Comfortable leading from both piano and podium, her versatility has allowed her to assist in a variety of roles in a range of styles– whether opera, musical theater, chamber music, or somewhere in between.

She made her Opera Philadelphia debut as Principal Pianist (doubling on synth) for We Shall Not Be Moved, a hybrid opera that took her to their inaugural O17 as well as The Apollo and Dutch National Opera. A frequent collaborator of Beth Morrison Projects and HERE, she has participated in all seven PROTOTYPE festivals, from performer in Thumbprint (LA Opera) and Mata Hari, to répétiteur for The Scarlet Ibis, Acquanetta, p r i s m and Angel’s Bone (Pulitzer Prize: Music). Additional BMP shows include Personathe difficulty of crossing a fieldSong from the UproarAnatomy Theater and Ouroboros Trilogy.

In July 2019, Mila became the Artistic Director of American Opera Projects, while still serving as Head of Music for their Composers & the Voice program lead by conductor Steven Osgood. From 2010-14, Mila was AOP’s Resident Music Director, where she was Assistant Conductor for As One (BAM), The Blind (Lincoln Center Festival), and Harriet Tubman (Irondale Center). AOP connected her to the producers above as well as American Lyric Theater, Experiments in OperaOpera on Tap, and the national organization OPERA America, where she premiered the OA song cycle Fierce Grace: Jeannette Rankin (Library of Congress) and accompanied Creators in Concert presentations for Anthony Davis, Laura Kaminsky, Missy Mazzoli and Kamala Sankaram.

With her musical worlds continually blurring, Mila has lead projects ranging from operatic to legit to pop. She served as Music Director for the hybrid Words on the Street (Baruch Performing Arts Center) and the rockin’ These Girls Have Demons (Pittsburgh CLO SPARK), Vocal Director for Ripe Time’s Obie-winning folk opera The World is Round (BAM), and in April 2019, will helm the girl-powerful double bill of Liberation/The Infinite Energy of Ada Lovelace at Opera Ithaca. She has performed cabarets at Feinstein’s/54 Below, The Duplex and The Metropolitan Room; musicals at the New York Musical Festival, New York Children’s Theater Festival and York Theatre Company; and barroom operas at Freddy’s Bar and FringeNYC. She can swing, she can groove, and the honest truth is that she’s played Godspell as many times as The Rape of Lucretia (four, to be exact).

Other notable projects include co-producing A Mouth is Not for Talking with Laura Bohn, a two-woman version of La voix humaine built for National Sawdust; debuting Love & Trouble with Adrienne Danrich (Roven Records) and Voices of Women with Heather Fetrow (Affetto Records); conducting Julius Eastman’s The Moon’s Silent Modulation at Lincoln Center; and performing the music of her serialist composer grandmother-in-law Virginia Seay at The Stone. Additionally, she has appeared on The Phoenix Concerts, the FERUS festival and Queens New Music Festival, and alongside Either/Or, Hotel Elefant, The Curiosity Cabinet, Refugee Orchestra Project and the band Opera Cowgirls

A native of the Philadelphia area, Mila holds degrees from the Manhattan School of Music and Elizabethtown College. milahenry.com

(January 2019)

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To see a collection of past and present performances, click here

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