Jessica Bayne, soprano, is a versatile singing actress comfortable in a wide range of repertoire. Recognized for her artistic honesty and effortless vocal production, she is dedicated to creating an experience through music. This intentionality shines through each performance, whether it be Schumann’s tender “Mondnacht,” Violetta’s fiery “Sempre Libera,” or the heartbreaking “She Used to Be Mine” from Waitress. Ms. Bayne’s interpretation of the soprano solo in Mahler’s Symphony No. 2 was described as “transcendent,” and her rendition of Fantine’s “I Dreamed a Dream” from the hit musical Les Misérables was noted for its “piercing delivery.” She has been part of numerous programs and companies including UK Opera Theatre, Opera Maine, Lyric Opera Studio Weimar, Bay View Music Festival, and The Lexington Theatre Company. Performance credits include the title role in Susannah, La Traviata (Violetta), Die Zauberflöte (Pamina), La Bohème (Mimì), Sondheim on Sondheim, and Songs for a New World. Ms. Bayne is also a member of prestigious touring company The American Spiritual Ensemble. In October 2023, she made her debut with the Lexington Philharmonic as soprano soloist for Carmina Burana. Jessica is a two-time winner of the Alltech Vocal Scholarship Competition, and was awarded the Louis T. Nicholas prize at the 2024 NATSAA semifinals.
Off the stage, Ms. Bayne maintains a regular teaching schedule and continues academic pursuits in research. As a teacher, she works with children, teens, and adults, focusing on building a strong technique based on efficient use of breath and the body as an instrument. Research interests include a particular concentration on the subjects of sexual violence in music theatre, and practices regarding artist care during productions. She is co-author with Dr. Jennifer Campbell on a paper entitled “Staging Susannah on a University Campus in the Post-Covid-19 and #MeToo Era: A Case Study.” The paper was presented in March 2024 at the conference “Exploring Gender-Based Violence and Femicide in Twentieth and Twenty-First Century Music Theatre.”
