Biography
Hailed for a voice that is “rich, forceful, and skillfully controlled,” and acting that is “truly compelling,” dramatic soprano Cassandra Glaeser is quickly establishing herself as a magnetic operatic and concert artist. Praised for her “powerful, mature sound” that “soars” with “steady effectiveness,” she brings vocal power, emotional intensity, and commanding stage presence to every performance.
Glaeser recently appeared as a featured soloist with the Manitowoc Symphony Orchestra during its 75th Anniversary Season, performing Wagner’s triumphant “Dich, teure Halle” from Tannhäuser, the iconic “Liebestod” from Tristan und Isolde, Mascagni’s sparkling “Cherry Duet” from L’amico Fritz, and the beloved crossover favorite “The Prayer” by David Foster. Additional orchestral appearances include serving as the mezzo-soprano soloist in Verdi’s Requiem with the Carmel Symphony Orchestra.
Known for her dramatic intensity and versatility across both soprano and mezzo-soprano repertoire, Glaeser thrives in roles demanding both vocal stamina and fearless theatricality. Her professional training includes two seasons respectively as an Apprentice Artist with Sarasota Opera and Des Moines Metro Opera. At Des Moines Metro Opera, she made her professional debut as the Fourth Serving Maid in Strauss’s Elektra and covered the role of Chrysothemis in the same production. She was also a Young Artist with the Seagle Festival and the Sieur du Luth Opera Training Program, and was named a soprano finalist in the prestigious Patrick G. and Shirley W. Ryan Opera Center Finals at Lyric Opera of Chicago.
Her repertoire spans powerhouse dramatic heroines, rich character roles, and lyric favorites, including Madame Larina in Eugene Onegin, Gertrude in Roméo et Juliette, First Witch in Dido and Aeneas, Mrs. Van Daan in the world premiere of Ran’s Anne Frank, Mrs. Grose in The Turn of the Screw, Suzel in L’amico Fritz, Medea in Medea, Donna Anna in Don Giovanni, Antonia and Giulietta in Les Contes d’Hoffmann, and Mařenka in The Bartered Bride. Whether singing Wagner, Verdi, Broadway crossover, or contemporary works, Glaeser is recognized for performances that are both vocally thrilling and emotionally electric.
Beyond the stage, Glaeser is passionate about championing underrepresented voices in classical music, particularly women, LGBTQIA+, BIPOC, and Latinx composers. Her doctoral research explored the art songs of nineteenth-century French composer Augusta Holmès through a feminist musicology lens, examining themes of war, politics, feminine love, and sexuality.
She holds a Doctor of Music degree in Voice from the Indiana University Jacobs School of Music, a Master of Music in Opera Performance from the University of Wisconsin–Madison, and a Bachelor of Music in Voice Performance from Lawrence University.
Short Bio
Dramatic soprano Cassandra Glaeser is recognized for her rich, powerful tone and commanding stage presence. Recent appearances include featured soloist performances with the Manitowoc Symphony Orchestra during its 75th Anniversary Season and as the mezzo-soprano soloist in Verdi’s Requiem with the Carmel Symphony Orchestra. Praised for her vocal power, emotional intensity, and thrilling dramatic presence, Glaeser continues to build a dynamic career across operatic, concert, and crossover repertoire.
Casting Bio
Dramatic soprano Cassandra Glaeser is gaining recognition for her rich, powerful tone, and compelling dramatic presence. Recent engagements include a featured soloist appearance with the Manitowoc Symphony Orchestra during its 75th Anniversary Season, performing Wagner’s “Dich, teure Halle,” the “Liebestod” from Tristan und Isolde, Mascagni’s Cherry Duet, and Foster's “The Prayer.” She has also appeared as the mezzo-soprano soloist in Verdi’s Requiem with the Carmel Symphony Orchestra.
Known for her dramatic intensity and versatility across both soprano and mezzo-soprano repertoire, Glaeser thrives in roles demanding both vocal stamina and fearless theatricality. Her performed roles include Madame Larina (Eugene Onegin), Gertrude (Roméo et Juliette), Mrs. Grose (The Turn of the Screw), First Witch (Dido and Aeneas), Suzel (L’amico Fritz), Medea (Medea), Donna Anna (Don Giovanni), Antonia/Giulietta (Les Contes d’Hoffmann) and Mařenka (The Bartered Bride). Glaeser appeared in the world premiere production of Shulamit Ran’s opera Anne Frank, performing the role of Mrs. Van Daan. She made her professional debut at Des Moines Metro Opera as the Fourth Serving Maid in Strauss’s Elektra and covered the role of Chrysothemis in the same production.
A soprano finalist in the prestigious Patrick G. and Shirley W. Ryan Opera Center Finals at Lyric Opera of Chicago, Glaeser has trained with Sarasota Opera, Des Moines Metro Opera, the Seagle Festival, and the Sieur du Luth Opera Training Program. She holds degrees from the Indiana University Jacobs School of Music, the University of Wisconsin–Madison, and Lawrence University.
Teaching Bio
Dr. Cassie Glaeser is a dramatic soprano, voice educator, and arts mentor recognized for her dynamic teaching, collaborative spirit, and student-centered approach to vocal training. With over 15 years of teaching experience spanning collegiate, pre-professional, and private studio settings, she has worked with singers of all ages across classical, musical theatre, contemporary commercial music, opera, pop, and crossover styles.
Most recently, Dr. Glaeser served as Visiting Assistant Professor of Voice at Eastern New Mexico University, where she taught applied voice, lyric diction, and stagecraft for singers while mentoring undergraduate students in Vocal Performance, Music Education, and Musical Theatre. In addition to maintaining a thriving private voice studio, she co-led weekly studio masterclasses focused on vocal technique, musical interpretation, diction, and performance artistry. Her students earned recognition at competitions including Rio Grande NATS, and appeared in productions, showcases, and masterclasses throughout the region.
A passionate advocate for experiential learning and collaborative performance, Dr. Glaeser served as Musical Director for the fifteen-scene production From Seuss to Sondheim: A Spotlight on Musical Theatre, where she coached students in vocal performance, dramatic interpretation, and ensemble collaboration. She also played a leading role in organizing and mentoring student initiatives through the ENMU Student NATS chapter, recruitment events, performance outreach, and community engagement projects.
Dr. Glaeser’s teaching is rooted in an Italianate bel canto tradition and informed by mind-body kinesthetic awareness through Alexander and Feldenkrais techniques. In her studio, she prioritizes a pedagogy that is trauma-informed, gender-affirming, body-positive, and responsive to the goals of each individual student. Known for fostering supportive, engaging, and artistically rigorous learning environments, she creates spaces where singers feel empowered to explore healthy technique, expressive performance, and authentic artistry. Her teaching emphasizes sustainable vocal function, confidence-building, and the development of each student’s unique artistic voice.
Deeply committed to inclusive and representative programming, Dr. Glaeser frequently incorporates repertoire by women, LGBTQIA+, BIPOC, and Latinx composers into her teaching and performance work. She encourages students to connect with their own identities, cultures, and lived experiences through thoughtful and diverse repertoire selection, helping them cultivate artistry that is both technically grounded and personally meaningful.
Alongside her collegiate teaching, Dr. Glaeser has taught with Stafford Music Academy in Bloomington, Indiana, Dynamic Music, LLC in the northern suburbs of Chicago, and served as a teaching assistant in voice and opera workshop at the University of Wisconsin–Madison. She also returned to her alma mater, Lawrence University, as a Lecturer of Music in Voice.
Dr. Glaeser holds a Doctor of Music degree in Voice from the Indiana University Jacobs School of Music, a Master of Music degree in Opera Performance from the University of Wisconsin–Madison, and a Bachelor of Music degree in Voice Performance from Lawrence University. She is an active member of the National Association of Teachers of Singing (NATS), OPERA America, the National Opera Association, the College Music Society, the National Association for Music Education, the New Mexico Music Educators Association, and the Society for American Music.