- Doctor of Musical Arts, Boston University
- Opera Certificate, Boston University (Opera Institute)
- Master of Music, Boston University
- Bachelor of Arts, Yale College (Comparative Literature)
Awards and Honors
- Noah Greenberg Award (American Musicological Society)
- Canada Council for the Arts Artist Management and Travel Grants
- Recipient of the Mary Wig Johnson Faculty Achievement Award for excellence in research. Scripps College, 2010
Voting member of the Grammys (2009-present)
Anne Harley teaches applied voice and music history, with a research focus in interdisciplinary vocal pedagogy and also in American and Russian chamber music composed by women in the eighteenth and nineteenth centuries. She is an accomplished vocal soloist, singing opera and oratorio in North America. Before coming to Scripps, she taught previously at the University of North Carolina at Charlotte, Boston University Tanglewood Institute, and Longy Conservatory.
She is a specialist in both contemporary and early music, and has appeared across North America and Europe with Opera Boston, Boston Modern Orchestra Project, Opera Unlimited, The American Repertory Theatre, The Handel & Haydn Society, Boston Baroque, and Boston Camerata. She spent several seasons performing new works at the Banff Centre for the Arts (Alberta, Canada) and at the Tanglewood Festival. She debuted in Europe at Amsterdam’s Conzertgebouw as the lead in Handel's Acis and Galatea, and has since toured in Europe several times. In conjunction with the Centre de Musique Baroque de Versailles and Oberlin College, she recreated leading roles in the modern-day premier of Royer’s Le Pouvoir de l'Amour. In 2009, she was honored to create the role of Margaret Mead in the world première of the dance-opera A House in Bali by Evan Ziporyn, with libretto by Paul Schick, in the Water Palace Theater in Ubud, Bali, which she reprised at CalPerformances and BAM. Her solo performances are available on Hänssler Profil, Naxos, Sony Classics, Dorian, Canteloupe, Musica Omnia and BMOP/sound, among others.
She founded and directs Voices of the Pearl, an ongoing project dedicated to the commissioning, performance, and recording of new song cycles from composers around the world. The cycles set texts by and about female esoteric practitioners across a number of periods, nations and spiritual traditions. (www.voicesofthepearl.org)
Part of her research examines how different disciplines and national traditions define the voice and vocal training. She is an Associate Teacher of Fitzmaurice Voicework, which is an emerging somatic vocal pedagogy for theatre that is considered complementary to classical conservatory-style voice training. In 2006, she joined an international voicework exchange for teachers of voice for theatre at the Moscow Art Theatre in Russia and presented on the exchange at the ATHE National conference in 2007 and she has taught since her arrival at Scripps at institutions of higher learning in China on an annual basis: Beijing University, Shanghai Theatre Academy, Xiamen University, and others.
Along with her experience as an active performer, she has also stage-directed several operatic productions. As a member of the Senior Common Room at Lowell House at Harvard University, she directed La Bohème (2001), set in the Harvard Square subway station, Carmen (2002), set at the April 2001 Free Trade protests in Quebec City, and Eugene Onegin(2003) in a period setting. From 2006-2008, she led faculty and students from the UNC Charlotte School of Architecture and Department of Music to incorporate real-time motion- and sound-capture technology into several operas she stag-directed: Purcell's Dido and Aeneas, Charpentier's Les Arts Florissants, and Randall Thompson's Solomon and Balkis. Their innovations were covered in Architect magazine and they were invited to present on their work at the National Opera Association's 2009 and 2010 national conferences.
Since 2000, she leads the ground-breaking early Russian music ensemble TALISMAN with Dr. Oleg Timofeyev. The ensemble performs and records little-known Russian and Russian Roma repertoire. Their first recording, Roses d'amour: Russian Princess Composers from the Court of Catherine the Great won the Noah Greenberg award from the American Musicological Society and was lauded by Gramophone. Since then, she has recorded several more CDs of early Russian and Russian Roma vocal music and the ensemble has presented programs and residencies at the Boston Early Music Festival, Harvard University, Yale University, Wellesley College, and Oberlin College, among others.