Last season Kiera returned to the American Modern Opera Company for Comet/Poppea (Julia) which juxtaposes Monteverdi’s L’incoronazione di Poppea and the world premiere of George Lewis’ The Comet at Lincoln Center’s annual ‘Summer for the City’ festival. In 23/24 Kiera returned to Opera Philadelphia to sing the lead role of Nelly Bly in the world premiere of René Orth’s 10 Days in a Madhouse; revisited the role of Bess in Missy Mazzoli’s Breaking the Waves at Detroit Opera; and created the role of Julia in the world premiere of Comet/Poppea with director Yuval Sharon and The Industry in Los Angeles.

A specialist in modern, contemporary, and rarely heard operas, Kiera has sung the world premiere of Missy Mazzoli and Royce Vavrek’s Breaking the Waves (Bess McNeill), Lembit Beecher’s world premiere of Sophia’s Forest (Sophia), Elliot Carter’s US premiere of What Next? (Rose), Philip Glass’ Akhnaten (Queen Tye), Carlisle Floyd’s Of Mice and Men (Curley’s Wife), György Ligeti’s Le Grand Macabre (Venus), Vicente Martín y Soler’s Una cosa rara, Peter Ash’s The Golden Ticket (Violet Beauregard), Corigliano’s The Ghosts of Versailles (Florestine), and Morton Feldman’s “anti-opera” Neither. A widely versatile artist, Kiera has also mastered canon repertoire such as L’enfant et les sortilèges (Le Feu/La Princesse), Gluck’s Orfeo ed Euridice (Euridice), A Streetcar named Desire (Stella), Candide (Cunegonde), Parsifal (Erste Mädchenblumen), Così fan tutte (Despina), Don Carlo (Tebaldo), The Rape of Lucretia (Lucia), L’italiana in Algeri (Elvira), Lakmé (Miss Ellen), Hänsel und Gretel (Dewman), La Cenerentola (Clorinda), and Suor Angelica (Le Novizie). She regularly appears on the stages of leading opera houses and presenting organizations including The Metropolitan Opera, Lyric Opera of Chicago, Opera Philadelphia, Detroit Opera, The Atlanta Opera, Opera Theatre of Saint Louis, Arizona Opera, Cincinnati Opera, Boston Lyric Opera, Kentucky Opera, Tulsa Opera, Toledo Opera, Long Beach Opera, Opera Modesto, Fresno Grand Opera, Opera Grand Rapids, Wexford Festival Opera, Beth Morrison Projects, National Sawdust, Seji Ozawa Music Academy, Prototype Festival, Mostly Mozart Festival, Center for Contemporary Music, and The Industry L.A.

Kiera’s prolific concert career has seen her collaborate with many of the world’s most distinguished conductors including James Levine, Lorin Maazel, Alan Gilbert, Gustavo Dudamel, Michael Tilson Thomas, Harry Bicket, Herbert Blomstedt, Pierre Boulez, Kristjan Järvi, Nathalie Stutzmann, Andreas Delfs, Leonard Slatkin, Donald Runnicles, Roberto Abbado, Robert Spano, Lorin Maazel, and Leon Botstein. Orchestral highlights include a staged Pierrot Lunaire, , Oliver Knussen’s O Hototogisu!, Berg’s Lyric Suite, Boulez’s Pli selon pli: “Improvisation II sur Mallarmé”, György Ligeti’s Aventures and Nouvelles Aventures, Unsuk Chin’s Cantatrix Sopranica, Berio’s Recital for Cathy, Feldman’s Rothko Chapel, Lulu Suite, George Crumb’s Apparition, David del Tredici’s Syzygy, Michael Hersch’s I hope we get a chance to visit soon, Barber’s Knoxville: Summer of 1915, Debussy’s La damoiselle élue, Fauré’s Requiem, Mahler’s Symphony No. 2, No. 4, and No. 8; Carmina Burana, Beethoven’s Symphony No. 9, Mozart’s Requiem, Mass in C minor, Coronation Mass, and Exsultate, jubilate; Handel’s Messiah, and Bach’s Magnificat with the Berlin Philharmonic, London Symphony Orchestra, São Paulo Symphony, Bergen Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Boston Symphony Orchestra, San Francisco Symphony, Chicago Symphony Orchestra, The Cleveland Orchestra, National Symphony Orchestra, Atlanta Symphony, Houston Symphony, St. Louis Symphony, Detroit Symphony, and Milwaukee Symphony Orchestra.

Her first commercial recording “Richard Strauss: The Complete Songs, Volume 5” with legendary pianist Roger Vignoles is available on Hyperion Records. Her discography also includes Carmina Burana on Sony with Mitteldeutscher Rundfunk, Mahler’s Symphony No. 8 on Deutsche Grammophon with Gustavo Dudamel and the LA Philharmonic and Simon Bolivar Orchestra, and Fairouz’s No Orpheus on Naxos.

In addition to her active performing career, Ms. Duffy is a sought-after masterclass clinician, adjudicator, panelist, and private voice instructor. She was formerly Professor of the Practice in Voice at the University of Notre Dame and currently serves as Associate Professor of Voice at the Eastman School of Music in Rochester, NY.

2025-2026