55editLauded for her “sublime” playing (Feast of Music) and heralding orchestral scores of “incredible range and color” (OperaPulse), Mila Henry is an integral member of New York’s contemporary opera and music theater community. Comfortable leading from both the piano and the 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 has taken 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 six PROTOTYPE festivals, from performer in Thumbprint (LA Opera) and Mata Hari, to répétiteur for The Scarlet Ibis, Acquanetta and Angel’s Bone (Pulitzer Prize: Music). Additional BMP shows include Persona (with Either/Or), the difficulty of crossing a field (Cantaloupe Music), Song from the UproarAnatomy Theater and Ouroboros Trilogy.

From 2010-14, Mila was Resident Music Director at American Opera Projects, where she was Assistant Conductor for As One (BAM), The Blind (Lincoln Center Festival), and Harriet Tubman (Irondale Center). She is currently Head of Music for their Composers & the Voice fellowship program with conductor Steven Osgood. AOP introduced her to the producers above as well as American Lyric Theater, Opera on Tap, and the national organization OPERA America. No stranger to the latter, Mila premiered their song cycle Fierce Grace: Jeannette Rankin with mezzo-soprano Heather Johnson (Library of Congress), and accompanied their Creators in Concert presentations for Missy Mazzoli, Anthony Davis and Kamala Sankaram.

Equally at home with musical theater, Mila served as Music Director for These Girls Have Demons (Pittsburgh Civic Light Opera) and Vocal Director for Ripe Time’s Obie-winning The World is Round (BAM), and has presented works at the New York Musical Festival, New York Children’s Theater Festival, New York Fringe Festival and York Theatre Company. She played for Broadway Dance Center’s Musical Theater Performance Project with Joshua Bergasse, and her cabaret chops have taken her to Feinstein’s/54 Below, Don’t Tell Mama, The Duplex and The Metropolitan Room. With her musical worlds continually blurring, she has lead projects ranging from operatic to legit to rock/pop for NYU’s Graduate Musical Theater Writing Program, and has crossed paths with Broadway actors Christine Andreas and Cady Huffman, operatic baritone Nathan Gunn, and indie-rock singer Jennifer Charles. While still a graduate student, she also had the opportunity to observe Paul Gemignani at Manhattan School of Music’s Professional Musical Theater Workshop. 

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); performing and conducting the music of her serialist composer grandmother-in-law Virginia Seay at The Stone; and doubling on keys/ukulele with Experiments in Opera (Symphony Space) and the band Opera Cowgirls. Additionally, she has appeared on The Phoenix Concerts, FERUS festival and Queens New Music Festival, and alongside Hotel Elefant, The Curiosity Cabinet, Opera Noire, Refugee Orchestra Project and Two Sides Sounding.

Mila holds degrees from the Manhattan School of Music and Elizabethtown College. A native of the Philadelphia area, she lives in Brooklyn with her husband, guitarist James Moore. milahenry.com

(March 2018)




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

Need a current résumé or shorter bio?
Please contact me directly.

Download headshot #1
Download headshot #2
Download headshot #3