Sprinting across a raked stage in 6-inch stiletto heels, plummeting into the steel mills of Pittsburgh, singing soaring melodies in a haunted mansion, fervently chopping carrots in an Airstream trailer in Los Angeles - the world is truly Victoria Fox’s stage. A singer, performer, curator, and connector who breathes life and authenticity into every word she sings, mezzo-soprano Victoria J. Fox’s multi-dimensional career has taken her to the celebrated concert halls of the world and has intersected with some of the most rising and established creatives of our time.
On a personal mission to ignite excitement towards the next generation of music, Victoria has commissioned a number of new works from personal friends and talented composers such Julia Adolphe, Jordan Nelson, and Sarah Gibson and has premiered works by Donald Crockett and Veronika Krausas, to name a few. She created the role of The Word in Gilda Lyon’s eco-opera, A New Kind of Fallout based on the life and work of Rachel Carson with Opera Theatre Pittsburgh and has performed new works around the country through Opera America’s New Opera Showcase, Aspen Contemporary Music Ensemble, The Industry, Thornton Edge, and the Los Angeles Philharmonic’s Green Umbrella Series.
Victoria is a founding member of The Connection Experiment, a concert series which educates audiences through vulnerability, empathy, presence, and of course, connection. The Connection Experiment takes a human-centered, perfection-be-damned approach to performance and encourages audiences to take part in the creative process. Her upcoming project Pranayama, produced in collaboration with composer Reena Esmail, moves through the seven chakras utilizing chakra singing and dance as well as text based on Sanskrit mantras. Viewing the recital format as the ultimate one-on-one conversation, she actively presents solo and chamber performances in collaboration with artists and organizations such as Julia Adolphe, Hila Plitmann, Sarah Gibson, Jordan Nelson, Jason Allison, Aspen Contemporary Music Ensemble, and National Sawdust.
A forward-thinking artist, Victoria’s creative endeavors still have her diving into opera’s great tradition of repertoire characters. Victoria studied and performed the role of Meg in Verdi’s Falstaff under the tutelage of Martina Arroyo in Ms. Arroyo’s Prelude to Performance program in New York City. Victoria then donned her britches and performed the role of Ottone in L’Incoronazione di Poppea with Aspen Opera Theater Center. Other roles performed include Carmen, Berta in Il Barbiere di Siviglia, Dorabella in Cosi Fan Tutte, Clairon in Strauss’s Capriccio, Siébel in Faust, and Nicklausse in Les Contes D’Hoffmann, Zita in Gianni Schicchi, Third Lady in Die Zauberflöte, Arnalta in L’Incoronazione di Poppea, Marchesa Melibea in Rossini’s Il Viaggio a Reims, and La Duchesse in Offenbach’s La Grande Duchesse de Gerolstein. Equally comfortable with sacred music and oratorio, Victoria has performed as the alto soloist in Bach’s Magnificat, Handel’s Messiah, and Pergolesi’s Stabat Mater.
Victoria’s vocal career started in Centerville, Pennsylvania at the age of 4 when she graced her immediate family with a person rendition of “We Built this City”. She then went on to earn her Bachelor of Music at The Lamont School of Music in Denver, Colorado and holds a Master’s Degree from The University of Southern California, Thornton School of Music. Victoria has been honored as a James Conlon Music Scholar, is a recipient of the Jeanette MacDonald Operetta Scholarship, and is a two time Aspen Music Festival Fellow. A lover of the outdoors and all things orange, Victoria can be found hiking through the hills of LA with her dog Preux, or embarking on her latest food-based quest, having just completed a thorough search for the best ramen in Japan.