Thank you for taking the time to get to know me more! I like to describe myself in three As.
An Artist
As an operatic soprano, Engelmann harnesses the power of her dynamic, zesty, and unique voice to connect with audiences. The Boston Musical Intelligencer described her as a fairy godmother who “fluttered about the stage… Her giggles and charm won praise of the audience”. She has performed with Boston Summer Opera, Little Songbook Opera, Ted and Togo Productions, Longy School of Music, Boston Lyric Opera, North End Performing Arts Center, Chicago Summer Opera, Manhattan Opera Studio and Millikin Opera Theatre. Recent performance highlights include Pernilla in Dan Shore’s The Beautiful Bridegroom, Noémie in Massenet’s Cendrillon, Second Lady in Mozart’s Die Zauberflöte, Deianira in A Haunted Palace, Amore in Gluck’s Orfeo ed Euridice, Dew Fairy in Humperdinck’s Hansel und Gretel, and Water in Portman’s The Little Prince. Additional credits include Nella in Puccini's Gianni Schicchi, Flora in Britten's The Turn of the Screw (awarded Broadway World Chicago’s Best Production of an Opera 2023), and Despina in Mozart’s Cosi fan Tutte.
Engelmann holds a Bachelor of Music in Vocal Performance and a Certificate in Dance from Millikin University and Master of Music in Voice Studies from Longy School of Music of Bard College.
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An Administrator
As a natural born leader, Engelmann is passionate about community engagement and production management. Growing up without easily accessible access to the arts she has made it her mission to give back to communities similar to the one she grew up in.
Engelmann is the Executive Director and founding member of Little Songbook Opera, an organization dedicated to making music fun, accessible, and meaningful. She is also apart of the Artistic and Operations team at Emmanuel Music, serving as their Weekend Cantata Stage Manager and the coordinator of their partnership with the Boston Public Library, Breathe with Bach program.
Engelmann previously served as the Community Engagement Intern at Guerilla Opera, where she was responsible for creating the organization’s monthly artist-focused newsletter and completed a case study on leveraging Patreon for arts organizations. Additionally, she served as the Assistant to Productions in the Voice Department at Longy School of Music, managing rehearsal schedules, resolving conflicts, and overseeing production marketing.
Engelmann has held roles such as the Marketing Graduate Fellow at Longy School of Music, Physical Graffiti’s Executive Director (2021 - 2022) -during her term was awarded “Most Improved Organization of the Year” by Millikin University. She also held roles such as the Marketing and Health & Wellness Director (2022 - 2023) for Physical Graffiti, and President (2022) and Vice President of Public Relations (2021) for Alpha Chi Omega Upsilon. In 2022, she was awarded "Best Marketing and Outreach Program" by Millikin University for her work in raising awareness during Sexual Assault Awareness Month.
An Advocate
Engelmann is dedicated to advocating for representation within the arts, particularly for plus-size and disabled performers. Her commitment to this cause fuels her artistic journey, driving her to inspire change and amplify voices to transform the stage. Her daily struggles with Hashimoto’s disease pushes her to lift up those who are usually turned away, and educate others on the importance of accessibility for those with visible and invisible disabilities.
As a performer, she has collaborated with Burlesque Underground, using her platform to challenge conventional beauty standards and celebrate that every body size is worthy of recognition. Engelmann’s dedication to inclusion extends to her work as an arts administrator. She revitalized and directed Physical Graffiti, a hip-hop organization focused on providing a space where individuals of all abilities and experiences can express themselves physically. Under her leadership, the organization earned the distinction of "Most Improved Organization of the Year 2022" from Millikin University. Having become disabled later in life, Engelmann uses her unique perspective to ensure that inclusion is a foundational element in all of her creative and administrative decisions.
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