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Winner of the 2025 Sydney Eisteddfod Scholarship and Runner-up in the Herald Sun Aria, Livia is rapidly emerging as one of Australia's most exciting dramatic voices. An emerging artist with Melbourne Opera, she has already established a significant performance profile across the country.

In 2025, Livia performed Fiordiligi (Così fan tutte) and Musetta (La Bohème) for Melbourne Opera, later reprising Musetta for BK Opera; covered Eva (Die Meistersinger von Nürnberg, Melbourne Opera); made her debuts as Rusalka (Boroondara Arts Opera in the Park), Abigaille (Nabucco, The CoOperative) and Lady Macbeth (Macbeth, BK Opera); and premiered Kevin March's song cycle Songs for Dark Days (Lyric Opera of Melbourne). She also appeared in two major Melbourne Recital Centre projects: the animated, condensed Ring Cycle BrünnhAilde- performing Rheinmaiden, Erda, Sieglinde, Brünnhilde and Gutrune (More Than Opera), and Chloe Charody's Truth in the Cage (Nightingale Performing Arts).

In early 2026, Livia will cover Turandot for Opera Australia at the Sydney Opera House and perform Fricka in Das Rheingold for Shaumet music at the Sydney City Recital Hall.

"Australian soprano Livia Brash has a richly upholstered and luxuriantly coloured soprano and she exhibited range, strength and nuance, rising with considerable power in the ensembles and showing stamina in arias whose tessitura is frequently high…

Brash’s was an impressive performance of considerable commitment and accomplishment,

and one from which she clearly derived enormous pleasure and fulfillment."

- Opera Today, London

(Beatrice di Tenda)

"The night, however, belongs to award-winning soprano Livia Brash as one of the finest Abigailles you could wish to hear – [a] pinch-me moment of the evening. Brash impresses with a unique voice that blends the agility and luminosity of Aleksandra Kurzak with the richness and power of Marta Mödl in her heyday. Demonstrating expert control of her passagio, she effortlessly transitions into her imposing chest voice to punctuate impressive runs in the upper register. A starring spot on the mainstage awaits."

- Limelight

(Nabucco)

"Livia Brash was a volcanic Abigaille, bursting with vocal power and drama. Her upper register was dazzling and dangerous, sometimes ear splittingly so, which suited the character perfectly. A spurned, raging woman with a thirst for power, Brash embodied her completely. She also showed genuine vulnerability in her duet with Nabucco in Part III, which landed with emotional weight."

- ClassikOn

(Nabucco)

"This Macbeth is one of the outstanding operatic productions of the year, not only for Millet’s daring concept but even more so for Livia Brash’s phenomenal performance as Lady Macbeth...

highly dramatic and devastating Brash traversed a laid-waste banquet table while singing one of the great Verdi arias with astonishing vocal colouring and assurance, nailing the top D at the end.

It was easy to see why people have said that Livia Brash was born to sing this role... it was Livia Brash’s performance in particular that will remain imprinted on the memory."

- Classic Melbourne

(Macbeth)

During her time in Europe, Livia attended the prestigious Georg Solti Accademia in Italy, where she was under the tutelage of mentors such as Maestro Richard Bonynge AC CBE. She performed the title role of Bellini's Beatrice di Tenda as part of the London Bel Canto Festival with the London City Philharmonic Orchestra and appeared in recital in London. In Germany, she was a member of Düsseldorf Lyric Opera, appeared as Sieglinde in Dramatic Voices Berlin's film of Die Walküre and was sponsored by the Wagner Society NSW. Her scheduled debut in the title role of Verdi’s Aida at the WIN Entertainment Centre Stadium in 2019 was cancelled.

Other operatic highlights include Alcina (Alcina, USA), Tosca (Tosca), Mimi (La Bohème), Rosina/Bertha swing (Il Barbiere di Siviglia, Australian tour), Donna Elvira (Don Giovanni) and Fiordiligi (Cosí fan tutte). She has also appeared as a soloist with the Canberra Symphony at Llewellyn Hall, Sydney Philharmonia Choirs at Sydney City Recital Hall, Canberra Choral Society and Canberra Wind Symphony at Albert Hall, Willoughby Symphony at the Chatswood Concourse, Lake Macquarie Philharmonic, and Central Coast Philharmonic orchestras. Additionally, she has performed at the Sydney Opera House and Sydney Town Hall.

In addition to her significant stage experience, Livia has also won several awards from Australia's most prestigious singing competitions. She was a recipient of the Opera Foundation for young Australians Dalwood-Wylie AIMS Award, and the AIMS Sundell Award, which allowed her to receive tuition at the Vienna State Opera. She was also a finalist in the Joan Sutherland and Richard Bonynge Bel Canto Competition for two consecutive years, placing third and second respectively, as well as being named a finalist in the IFAC Handa Australian Singing Competition.

Livia holds a Masters of Music Studies (Opera) from the Sydney Conservatorium of Music, where she was the recipient of the Geoffrey Rothwell Scholarship and the Joan Bonamy Scholarship. She completed a Bachelor of Music (Classical Voice) from the Australian National University and is a Pacific Opera alumna.

"Impressively ferocious... As Lady Macbeth, Brash storms through a punishing list of coercive, dramatic arias, not only owning the role but the space in which she performs, holding her audience captive in a mature and chillingly fierce depiction — so much so that thoughts of her barricading the exit and preventing anyone from escaping might have crossed many minds. From Act I’s resolute Or tutti, sorgete to Act II’s jubilant and commanding Brindisi, through to a bewitching Sleepwalking Scene and the intoxication of murderous thoughts in between, Brash electrifies every moment."

-Limelight

(Macbeth)

"...exceptional as Fiordiligi. Brash possesses a voice of luxurious warmth and a resonant power that she is able to harness to produce a floating tone of refined beauty. Her singing... quite literally gave me goose bumps. (Her tremendously moving performance of “Sola, perduta, abbandonata” for the 2025 Herald Sun Aria was also a musical experience to remember.)"

-Classic Melbourne

(Così fan tutte, Melbourne Opera)

"Brash’s lush, full-bodied soprano of impressive range brings strength and vulnerability to Fiordiligi’s moral struggles, particularly remarkable in the poise and affecting rendition of Act II’s [Per pieta]"

- Australian Arts Review

(Così fan tutte, Melbourne Opera)

"Vivid and highly dramatic... Brash possesses a resonant mellow soprano voice with the richness of a mezzo-soprano – an ideal vehicle for expressing the pathos of these accounts.

The climaxes of each song were powerfully delivered and often completed by admirable mastery of diminuendos. Brash’s facial expressions also conveyed meaning without being in the least exaggerated, and her gestures were made even more telling by strategically limited use. It was a compelling, carefully nuanced and finely calibrated performance."

-Classic Melbourne

(Truth in the Cage, Melbourne Recital Centre)

"Special guest soloist, Livia Brash, has quite a solid, "meaty" voice with an amazing range...

and excellent control, never forced, effortlessly reaching impossibly high notes"

- City News, Canberra

(Last Night at the Proms)