Keely Futterer has been praised by Chicago Classical for her “fantastic voice and emotive stage presence,” and has been seen in performances across the globe.
In the 26/27 season, Keely returns to Madison Opera for her role debut in the title role of Bellini’s Norma, and to Tulsa Opera for Così fan tutte (Fiordiligi). Last season, she debuted with Cedar Rapids Opera in Die Fledermaus (Rosalinda) and in concert with Arkansas Symphony in Orff’s Carmina Burana and Philharmonia Northwest in Kevin Puts’ Letters from Georgia. In the summer, she returned to The Glimmerglass Festival for Fellow Travelers (Mary Johnson) and Così fan tutte (Despina).
Highlights of her 24/25 season included debuts at at Virgina Opera for Così fan tutte (Fiordiligi), Chicago Opera Theater for Leonora (Marcellina), and a return to Madison Opera for Il barbiere di Siviglia (Rosina) and Wolf Trap Opera for Dialogues des Carmélites (Madame Lidoine). On the concert stage, Keely returned to Memphis Symphony Orchestra for Messiah and Erie Philharmonic for Verdi’s Messa da Requiem.
In the 2023/24 season, Keely made a number of exciting debuts including at Hudson Hall Opera for the title role in a new R. B. Schlather production of Handel’s Rodelinda, Madison Opera for L’Amant anonyme (Léontine), Wolf Trap Opera for Silent Night (Anna Sørensen), and a return to Minnesota Opera for her final season in the Resident Artist program and La bohème (Musetta). On the concert stage she debuted with the Erie Philharmonic in Messiah. In 22/23, in her first year at Minnesota Opera, Keely made her company debut in the world premiere of Edward Tulane (Abilene’s Mother/Abilene/Fancy Doll #2) followed by Rinaldo (Armida), and Don Giovanni (Donna Anna cover). Additional engagements last season included a return to The Glimmerglass Festival for Candide (Vanderdendur) and Rinaldo (Armida), as well as Messiah with the Memphis Symphony. She made her debut at The Glimmerglass Festival in 21/22 in Tenor Overboard (Angostura LaBelle), the world premiere Rossini pastiche created by Francesca Zambello and Ken Ludwig and The Sound of Music (Baroness Elberfeld).
Operatic highlights of Ms. Futterer’s career include Così fan tutte (Fiordiligi), La voix humaine, the title role in Suor Angelica, L’elisir d’amore (Adina), and Le nozze di Figaro (Contessa). She received critical acclaim for her role debut in La fille du régiment (Marie) at Opera Saratoga, where she was reviewed as having “one of the most gorgeous voices you can imagine with charm to match. Hers [was] a performance you will remember and speak about for years.” A champion of new music, Keely has also been seen in Victoria Bond’s Mrs. President (Isabella Beecher), the American premiere of Philip Glass’s The Witches of Venice (Witch Mother), and she was part of the New Works Forum in NYC with American Lyric Theatre, premiering The Life and Death(s) of Alan Turing (Sara Turing).
A passionate interpreter of concert work, Ms. Futterer covered Renée Fleming for the world premiere of Kevin Puts’ Letters from Georgia with the Eastman Philharmonic, was the soloist for Mahler’s Symphony IV, also with the Eastman Philharmonic, and performed Barber’s Knoxville: Summer of 1915 with the Arkansas Symphony Orchestra. Other concert repertoire includes the Mozart Requiem, Bach’s solo cantata for soprano, BWV 51: Jauchzet Gott in allen Landen, Handel’s Messiah, Orff’s Carmina Burana, and Brahms’ Ein deutsches Requiem.
Keely studied at Arkansas Tech University and the Eastman School of Music and has been a member of the Artist Training programs at The Glimmerglass Festival, Opera Saratoga, Opera Memphis, and Tulsa Opera.
2026-2027
