Since her debut singing “Colors of the Wind” from Disney’s Pocahontas over the PA to commemorate Earth Day 1998, Madeline has performed all over the world – from Carnegie Hall (Fauré’s Requiem, solo debut June 2025) to the Kwai Tsing Theater in Hong Kong (Book of Mountains and Seas with Ars Nova Copenhagen for Beth Morrison Projects and the New Vision Arts Festival, 2023) to a field outside the town of Russel, KS (Stockhausen’s Stimmung for the Ad Astra Music Festival, 2023).

She particularly loves the beach in winter, thick and weird 15&16th century continental polyphony, rock climbing, G. F. Handel, gardening, Herbert Howells, beautiful food, overtones, public libraries, and collaborative endeavors of all kinds.

This season you can find her (mostly) in NYC and VT singing with some of her favorite people, training for a triathlon, and gaming on discord/steam @uMadelinebro.

official bio

Known for her interpretation of Handel heroines, soprano Madeline Apple Healey has been lauded for her “gorgeous singing” (Washington Post) and “fetching combination of vocal radiance and dramatic awareness” (Cleveland Plain Dealer). With a repertoire that spans the traditional to the avant garde, Madeline is passionate about polyphony and loves working on music that challenges the construct of beautiful sound.

Recent solo engagements include a Guggenheim Works & Process commission—To the Body by Nico Muhly—performed as part of the exhibition Yu Hong: Another One Bites the Dust, concurrent with the 60th Venice Biennale; her Carnegie Hall debut singing Fauré’s Requiem with Jean-Sébastien Vallée; a solo recital, “Vis Aeternitatis,” for Death of Classical with members of NOVUS NY; Handel’s Messiah with Dame Jane Glover at Trinity Church NYC; a 17th century pastiche — “Ariadne Unbound” — curated for TENET Vocal Artists by Ellie Sutherland; and the role of Michal in Handel’s Saul with Burlington Choral Society. 

Madeline is founder and co-artistic director of the 15th&16th century focused vocal chamber ensemble, AMPERSAND, a member of the Trinity Choir, and performs internationally as a soloist and chamber musician. She was a 2025 Lyndon Woodside Oratorio Society of New York Competition finalist, has performed on numerous commercial recordings, including three GRAMMY-nominated albums, and was featured as Musical America’s New Artist of the Month in November 2024. 

In recent seasons, Madeline has appeared at Festival Oude Muziek Utrecht, Carnegie Hall, the Barbican, Aldeburgh Festival/Snape Proms, the Kennedy Center, and LA Opera, collaborated with Alkemie, Amor Artis, the Academy of Sacred Drama, Bach Akademie Charlotte, Bang on a Can All-Stars, ChamberQUEER, Clarion Music Society, Makaris, ModernMedieval Voices, New Chamber Ballet, The New Consort, Pegasus Early Music, Piffaro, Publick Musick, Res Facta, TENET, and Variant 6, and given premieres at National Sawdust, Lincoln Center’s White Light Festival, Spoleto Festival USA, Ad Astra Festival, and PROTOTYPE Festival, where she appeared in the NYT Critic’s Pick Acquanetta, directed by Daniel Fish. 

Additional operatic credits include La Musica & Eurydice (Monteverdi’s L’Orfeo), Hébé (Rameau’s Les Indes galantes), Papagena (Mozart’s Die Zauberflöte), Olympia (Offenbach’s Les Contes d’Hoffmann), Despina (Mozart’s Cosi fan tutte), and Susanna (Mozart’s Le nozze di Figaro). 

Madeline holds degrees in voice from Westminster Choir College and Baldwin Wallace University. Beyond performing, Madeline is an outdoorswoman and environmental advocate. Originally from Cleveland, OH, she now resides in New York where, whether in the city, the Gunks, or the Adirondacks, she can often be found eating french fries and spending time with her husband Teddy and their dog Bodhi.

photo by tatiana daubek