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Livia Brash is the winner of the 2025 Sydney Eisteddfod Opera Scholarship and an Emerging Artist with Melbourne Opera. Her 2025 engagements include Abigaille in Nabucco for The CoOperative, hailed by Classikon as "bursting with vocal power and drama"; Rusalka in Rusalka for Boroondara Arts; Musetta in La Bohème for both Melbourne Opera and BK Opera, and multiple Wagnerian roles- Rheinmaiden, Erda, Sieglinde, Gutrune and Brünnhilde in BrünnhAilde for More Than Opera. She also covered Eva in Die Meistersinger von Nürnberg for Melbourne Opera.

2025 has also marked a significant year in contemporary art song repertoire, including the world premiere of Kevin March's Songs for Dark Days with Lyric Opera of Melbourne, lauded by Classic Melbourne as "rich, full-bodied... evoking the Brechtian spirit of defiance"; and Chloe Charody's Truth in the Cage at the Melbourne Recital Centre, acclaimed by My Melbourne Arts as "highly expressive and arresting".

Upcoming performances include Fiordiligi in Così fan tutte for Melbourne Opera and her highly anticipated debut as Lady Macbeth in BK Opera's Macbeth. She is also a finalist in the 101st Herald Sun Aria.

In 2024, she performed La Zelatrice in Suor Angelica for Melbourne Opera, a production that won the 2024 Opera Chaser Award for Outstanding Opera in Concert, and was singled out as being "particularly impressive... her strong soprano full, rich and rounded" by Classic Melbourne. She also covered Musetta in La Bohème for the company. Additionally, Livia was featured as a "Young Star of Australian Opera" at the Sydney Carols in the Domain for an audience of 50,000 people and broadcast live on national television.

"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)

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.

"The soprano, big-voiced, tall-framed, Livia Brash, excels...

In a world where sopranos proliferate, this young woman can more than hold her own."

-ClassikOn

(Così fan tutte)

"Soprano Livia Brash is precociously gifted and ably performed her selections from Verdi with confidence and charm"

- Sounds Like Sydney

(NSW Doctors Opera Gala)

"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)

"Brash [exhibited] full dramatic commitment, and crafting her richly dark soprano voice to superb effect"

-Fever Pitch Magazine

(Truth in the Cage)

"...the captivating Livia Brash, whose Lady Macbeth was a highlight of the evening."

-Stage Whispers

(Outlaw Opera)

"Vivid and highly dramatic… A statuesque, graceful figure clothed in black and spotlit against a background of deep red light, Livia Brash was an arresting sight.... 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)