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Additional duties with the illustrious company include covering the role of Musetta in the iconic Franco Zeffirelli production of La bohème under the baton of Keri-Lynn Wilson. She joins the roster at the Lyric Opera of Chicago to cover the role of Catrina in Gabriela Lena Frank’s El último sueño de Frida y Diego with the artistic team of conductor Roberto Kalb and director Lorena Maza. The lirico-spinto soprano will make her role and company debut as Nedda in Pagliacci with Minnesota Opera led by Christopher Franklin.

Batista wraps up the 2024-25 season with a highly anticipated role debut of Micaëla in Carmen with Wolf Trap Opera, under the direction of John de los Santos and conducted by José Luis Gómez. Earlier in the season, Batista made her debut at The Atlanta Opera as Mimì in La bohème with a creative team that included director Tomer Zvulun, conductor James Lowe, and designer Vita Tzykun. She returned to the Metropolitan Opera to sing the High Priestess in Michael Mayer’s new production of Aida led by Yannick Nézet-Séguin and covered the role of Berta in the return of Bartlett Sher’s production of Il Barbiere di Siviglia with conductor Giacomo Sagripanti in the pit. Additionally, Ms. Batista was a featured soloist alongside Frederica von Stade, Joshua Hopkins, and Ben Bliss in the Chamber Music Society of Lincoln Center’s 55th Emerald Anniversary Gala at Alice Tully Hall. Ms. Batista had the distinct honor of receiving the 2025 Hildegard Behrens Foundation Award.

Highlights from recent seasons include Batista’s role debut as Mimì in the revival of John Caird’s production of La bohème at Wolf Trap Opera with Grant Gershon leading the National Symphony Orchestra in the Filene Center to a capacity crowd of over seven-thousand. While at the company she also performed ¡Te Adoro!, a concert of love songs from Spain and Latin America, with Steven Blier at the piano. Ms. Batista made two role debuts at the Metropolitan Opera: First Lady in Julie Taymor’s production of The Magic Flute and Bianca in Nicolas Joël’s production of La Rondine led by Speranza Scappucci, the latter of which was broadcast around the globe in cinemas via The Met: Live in HD series. Further highlights of the season included a concert of Puccini and Rossini with Academie de l’Opera National de Paris at the Opéra Bastille, and appearing as the soprano soloist in Dvořák’s Te Deum with Colorado’s Grand Junction Symphony Orchestra under the baton of Music Director Charles Latshaw in a concert that also included orchestral songs “Morgen” and “Cäcilie” by Richard Strauss.

Ms. Batista made her Metropolitan Opera debut in the 2022-23 season singing High Priestess in Aida under the baton of Paolo Carignani in the farewell performances of Sonja Frisell’s monumental production that had seen over 240 performances at the company and she covered the role of Clotilde in Norma under the baton of Maurizio Benini. Additional appearances that season included singing the role of Elettra in Idomeneo at the Aspen Music Festival under the direction of Francesca Zambello and conductor Robert Spano; artist in residency with the Académie du Festival d’Aix-en-Provence in France where she sang a concert featuring the music of Meyerbeer, Mozart, Adamo, and Miguel Matamoros on the Cours Mirabeau with the Balthasar Neumann Orchestra under the baton of Thomas Hengelbrock; joined the prestigious Merola Opera Program where she sang Florencia Grimaldi in Daniel Catán’s Florencia en el Amazonas and Salud in de Falla’s La Vida Breve on the Schwabacher Summer Concert; and appeared as a featured soloist on the Merola Grand Finale concert where she sang the act one duet from Madama Butterfly on stage at the San Francisco Opera.

A native of New Jersey, Ms. Batista holds degrees in Vocal Arts from the Mason Gross School of the Arts at Rutgers University and the Juilliard School where she was a proud recipient of the Kovner Fellowship. She is a distinguished graduate of the Lindemann Young Artist Development Program at the Metropolitan Opera.