Ashley Kay Armstrong was a bouncy and effulgent teenage Olga
— Maria Nockin, Broadway World
Ashley Armstrong lights up the stage whenever her feisty Meg takes center stage, especially as she tries to win over Tommy’s tippling friend Jeff, who is in no hurry to be wedded or bedded by her.
— Diana Nollen, The Gazette
As she should, Ashley Kay Armstrong, in the title role, rules.
— Deanna Isaacs, Chicago Reader
The standout singer here is Armstrong, who wraps her velvety voice around Lucrezia’s sexy aria most charmingly, making us root for the wily wife who gets what she wants in the end, amorously as well as financially.
— John von Rhein Chicago Tribune
Ashley Kay Armstrong was aptly cast as Lucrezia, her charismatic presence and light flexible soprano making mincemeat out of the male schemers.

Ashley Armstrong delivered “At the Last Lousy Moments of Love” with comic flair and apt disillusionment.
— Lawrence A. Johnson, Chicago Classical Review
We also got to especially revel in Ashley Kay Armstrong, first feeling her star power that she brought to her performance in the title role of the LUCREZIA operetta that followed. While all the cast did a more than adequate job, both Armstrong’s role and performance made her the standout.
— Amy Munice, Picture This Post
A Powerhouse Mezzo
— Hillary Kurtz, The Fairfield Weekly Reader 

Photos courtesy of Titi Ayangade


Praised for her “charismatic presence” (Chicago Classical Review) and “velvety voice” (Chicago Tribune), “powerhouse mezzo-soprano” Ashley Armstrong’s “star power” is winning over the hearts of audiences throughout the nation.   


Ms. Armstrong begins her upcoming 2018/2019 season as a returning Young Artist to Cedar Rapids Opera Theatre for the role of Meg Brockie in their production of Brigadoon. From there, she travels to Opera Santa Barbara to perform the role of Olga in Eugene Onegin. In Santa Barbara she makes her company debut as a featured Chrisman Studio Artist, additionally portraying Rebecca Nurse in The Crucible and performing in La bohème. Her other recent engagements include Turandot as a Young Artist with Cedar Rapids Opera Theatre; and her Sarasota Opera debut as an Apprentice Artist in their fall production of La traviata. Furthermore, she locally premiered the role of Lucrezia in the critically acclaimed production of William Bolcom’s Lucrezia with Chicago Fringe Opera.


Other notable appearances include Kylie K in Thompson’s Street Opera’s premiere of Eric Lindsay’s Cosmic Ray and the Amazing Chris; Missy Mazzoli’s Song from the Uproar, also with Chicago Fringe Opera; The Wife in Thomas Pasatieri’s The Women; Suzette in Milton Granger’s Bluebeard’s Waiting Room; Ottavia in Monteverdi’s l’incoronazione di Poppea; Dritte Dame in Mozart’s Die Zauberflöte; and Amahl’s Mother in Menotti’s Amahl and the Night Visitors. 


Ms. Armstrong’s concert work involves The Defiant Requiem, Beethoven’s Symphony No. 9, and Bernstein’s Chichester Psalms with the Chicago Symphony Orchestra Chorus; Leading Ladies in collaboration with Old Capitol Opera; as well as work with Chicago Combined Choirs. She has presented or has been featured in recitals for the Chicago College of Performing Arts, the University of Northern Iowa, Northwestern University, and the Chicago Art Institute.


Currently a student of Allan Glassman, Ms. Armstrong holds a Master of Music in Vocal Performance from the Chicago College of Performing Arts, and a Bachelor of Arts in Vocal Performance and Theatre from the University of Northern Iowa, where studied with Jeffrey Brich. Also a student of yoga, Ms. Armstrong is a 200hr registered yoga teacher, fostering a curiosity for movement and body awareness in artists.