Engagements have ranged from the American Prize-winning world premiere of Muehleisen’s Borders at Carnegie Hall to the critically acclaimed West Coast tour of Monteverdi’s L’Orfeo with Grammy winning conductor Stephen Stubbs. On the concert stage, her voice has been hailed as “darker, creamy, sensuous…sprezzatura personified” (Opera Today) and “pure gold” (Opera Magazine).

Andrew Litton (Colorado Symphony ), Miss Jessel in Turn of the Screw (Eugene Opera), and Elle in La Voix Humaine (Vespertine Opera). Other recent credits include E in Seattle Opera’s O + E, L'enfant in L'Enfant et les Sortilèges (Pacific Symphony), Clorinda in Seattle Opera's acclaimed production of The Combat, Fiordiligi in Così fan Tutte (Skylark Opera Theatre), Hannah in The Merry Widow (Inland Northwest Opera), Pamina in Die Zauberflöte (Pacific Symphony), Maria in West Side Story (Central City Opera/Boulder Philharmonic), Musetta in La Bohème with Mo. Other credits include Susanna in Le Nozze di Figaro (Kentucky Opera), and Female Soldier in The Falling and the Rising (Seattle Opera), a portrayal described as “a triumph” by Classical Voice North America and “enthralling” by the Seattle Times. Altiveros appeared as Susanna in Le Nozze di Figaro (Intermountain Opera), Angela in In Real Life (Opera Memphis), the world premiere of Romeo (Orpheus Project), and a recital of new compositions with The Aria Institute in Paris. Times) and a 'captivating combination of skilled singing and magnetic acting' (Pioneer Press), soprano Tess Altiveros is equally at home in a wide range of repertoire from the 17th century to the 21st. Noted for her “particularly soulful” interpretations (L.A.

Seattle opera turn of the screw