Caroline Miller


Aber-Short Film of an operatic/aer...
The Pleiades Project

Caroline Miller

(She/her) Praised for her clear and expansive voice as well as her fire onstage, Caroline is involved in new opera and bringing music and opera to new audiences. She has extensive experience in operetta and theater which makes her an incredibly exciting performer.

Toledo Opera
Resident Artist, 2019-2020
Bronx Opera
Äanchen, 2018
Fresh Squeezed Opera
Soprano Soloist, 2017
The Pleiades Project
Artistic Director, 2016-present
Bard College
Opera Chorus at Summerscape, 2013-present
Eastman School of Music
Masters of Music in Vocal Performance, 2010-2012
The Ohio Light Opera
Mascha (The Chocolate Soldier), Bellabruna (Blossom Time), Phyllis (Iolanthe), 2010, 2012
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The Merry Widow

Toledo Opera, 2023

A Women's Suffrage...

The Pleiades Project, 2021

German Romantics: ...

The Pleiades Project + IN Series, 2020-2021

Hansel and Gretel ...
Gretel (Humperdinck)

Toledo Opera, 2019

The Gonzales Canta...
Arlen Spector

IN Series, 2020


Caroline Miller is a “warm soprano [with] emotional bite,” praised as a compelling singer-actor with vocal flexibility and dramatic intensity, who is “especially adept at comedy.” Committed to the interpretation of new operatic works and collaboration with composers, Caroline has premiered the role of Verlena Sue in A Wake or A Wedding by Richard Pearson Thomas with Encompass New Opera (NYC) and the role of GH in The Passion According to GH by Lacy Rose, as part of Madou Mines Residency (NYC). Highlights of her operatic work also include: Juliana in Argento's The Aspern Papers, Echo in Strauss's Ariadne auf Naxos and Blanche in Poulenc's Dialogues des Carmélites. In the 2019-2020 season, Caroline is a Resident Artist with Toledo Opera, appearing as Gretel in Hansel and Gretel vs the Witch, the Plaintiff in Gilbert and Sullivan's Trial by Jury and Lady-In-Waiting and First Witch in Monk Tarrots' new production of Verdi's Macbeth. In the 2020-2021 season, Caroline returns to Toledo Opera as Valencienne in Franz Lehár’s The Merry Widow.
"Caroline Miller’s Bellabruna was marvelous. Her well-placed, dramatic voice featured just the amount of operatic vibrato and profundity that one would expect from this pompous and arrogant character."
— J.D. Goddard,