In her performance career, Penelope Shumate has been described as having a “voice with power” and a “welcome fire” on stage. The New York Times praised her recent performance as the Soprano Soloist in Messiah for her David Geffen Hall  (formerly Avery Fisher Hall) debut at Lincoln Center, stating she “sang the soprano solos with appealing bell-like clarity and surpassing sweetness.” For her return to David Geffen Hall, she performed as a soloist in Carmina Burana; a work that also marked her Carnegie Hall debut and return engagements. Additional Carnegie Hall soloist appearances include performances in Messiah, St. Nicolai Mass, Coronation Mass, Requiem (Verdi and Mozart), and Stabat Mater  (Mealor). Also in New York City, she performed the title role in Naughty Marietta in Alice Tully Hall at Lincoln Center.

Her 2023-2025 engagements include her 19th soloist appearance at Carnegie Hall in New York City in Messiah and returning for One World (Jenkins) with Distinguished Concerts International New York (DCINY). Returning to David Geffen Hall at Lincoln Center in New York, she performs Mozart’s Requiem the world premiere of Kindness (Hayes) with DCINY. Her soloist debuts include appearances with the Alabama Symphony Orchestra in Messiah, Paducah Symphony Orchestra in Mahler’s Symphony No. 4, Lansing Symphony Orchestra in Carmina Burana, Gulf Coast Symphony Orchestra in Haydn’s Lord Nelson Mass, Shenandoah Valley Bach Festival in Weichet nur, betrübte Schatten, BWV 202 by Bach, Opéra Louisiane in the role of Hélène in Hell’s Bell (Le timbre d’argent), and in Nashville Opera’s “Opera on Wheels,” and return performances with the Gateway Symphony Orchestra in Zelenka’s Gloria and La Pasión según San Marcos  by Golijov, Muddy River Opera Company in the role of Violetta in La Traviata, and performing Carmina Burana with the Paducah Symphony Orchestra and the Roanoke Symphony Orchestra. Her “Bach to Broadway” recital performances include appearances in downtown Chicago at the Fourth Presbyterian Church Concert Series, and in Clarksville, TN, at the Roxy Regional Theatre, the First Presbyterian Church, and for the Clarksville Women’s Club “Hats and Heels” Fundraiser event.

2020/21,  2021/22, and 2022/23 season performances included appearances in both contemporary and traditional operas, concerts, orchestral works, and album recordings. Returning to Carnegie Hall in New York City, she performed as the soprano soloist in Carmina Burana and Messiah with Distinguished Concerts International New York. Her debut and return engagements with the Gateway Chamber Orchestra included performing as the soprano soloist in Mahler’s Symphony No. 2 , La Pasión según San Marcos  by Golijov, and Bach’s Magnificat. Opera roles with the Muddy River Opera Company included Adina in L’Elisir d’Amore and the world premiere of the new opera Helen in the roles of the Aunt and Annabella. Returning to the Quincy Symphony Orchestra Association, she performed as the soprano soloist in Te Deum by Dvořák.

She recorded the title role in the new opera Kassandra, released by Parma/Navona Records and was the soprano soloist on the recording, “as the fireflies watched . . . chamber music of James M. Stephenson,” released by Klavier Records. She also returned to the Galesburg Community Chorus and Knox-Galesburg Symphony Orchestra as the soprano soloist in the Fauré Requiem.

As a concert soloist, she has received critical acclaim as the Soprano Soloist in Carmina Burana; “Penelope Shumate looked stunning,” “a beautiful, flexible, dramatic voice,” “magnificent with her brilliant lyric voice caressing her music and soaring effortlessly,” She has performed this work with Heartland Festival Orchestra, Rapides Symphony Orchestra, Acadiana Symphony Orchestra, Oklahoma City Philharmonic/Canterbury Choral Society, Distinguished Concerts International New York, Berkshire Choral Festival, MidAmerica Productions, Glens Falls Symphony Orchestra, Schola Cantorum of Waynesboro, and Southern Illinois University. She has been equally praised for her performances in Messiah; a work she has sung with the Roanoke Symphony Orchestra, Santa Fe Symphony Orchestra and Chorus, Chamber Orchestra of Philadelphia, Distinguished Concerts International New York, MidAmerica Productions, Drexel University Chorus and Orchestra, Lynchburg College Choral Union and Orchestra, and at the Peoria Cathedral of St. Mary.

Other oratorio performances have included Beethoven’s Symphony No. 9 with Heartland Festival Orchestra, Rapides Symphony Orchestra, Acadiana Symphony Orchestra, Waynesboro Symphony Orchestra, Berkshire Choral Festival, and Louisiana State University Chorus and Orchestra. With Drexel University Chorus and Orchestra, she has performed in Magnificat (Bach and Vivaldi), Theresienmesse, and Elijah; the later work she also performed with Schola Cantorum of Waynesboro. She also appeared with Little Orchestra Society of New York in Vivaldi’s Dixit Dominus. With the Louisiana Sinfonietta, she sang Beethoven’s tour-de-force, concert aria, “Ah! perfido!”

In the genre of opera, she has been praised for her portrayal of Violetta in La Traviata; “affecting coloratura and convincing actress who breathes life – and death – into Violetta in convincing fashion,” “crystal clear soprano . . . an exquisite Violetta . . . very beautiful,” “always in control of her powerful and supple voice,” “a beautiful vocal and dramatic performance from start to finish.” She has performed this role with Opera on the James, Duluth Festival Opera, and Glens Falls Symphony Orchestra, as well as excerpts of the opera with Lake George Opera; a company where she also performed the role of Donna Anna in excerpts of Don Giovanni. In the role of Galatea in Acis and Galatea with Opera Roanoke and Duluth Festival Opera, she has also been complimented; “. . . wonderful as Galatea,” “a pleasing clear soprano well suited to the role.” With Opera Roanoke, she has also performed the High Priestess in Aïda, and Gilda in excerpts of Rigoletto, in addition to opera galas and recitals.

Her portrayal of Musetta in La Bohème, has been praised as “sexy and feisty,” “a particular delight,” “her tone was shimmering and clear” (Baltimore Concert Opera, Opera on the James, Center City Opera Theatre). With Opera on the James, she also performed the role of Fiordiligi in Così Fan Tutte, and appeared in many opera gala concerts. Additional operatic performances have included Pamina in Die Zauberflöte and Micaëla in Carmen (Muddy River Opera), Adele in Die Fledermaus (Opera on the James, Hilton Head Symphony Orchestra), Juliette in excerpts from Roméo et Juliette (Opera Company of Philadelphia), and performing in an opera gala for Annapolis Opera. A favorite of the Baltimore Opera, she performed the roles of Esmeralda (The Bartered Bride), Lisa (La Sonnambula), Papagena (Die Zauberflöte), High Priestess (Aïda), Dew Fairy (Hansel and Gretel), Shepherd Boy (Tannhäuser), and performed numerous opera concerts. Her roles with Philadelphia Concert Opera have included Konstanze (Die Entführung aus dem Serail), Belinda (Dido and Aeneas), Miss Silverpeal (The Impressario), and Don Ettore (La Canterina). For the Jacksonville Lyric Opera, she performed Hanna in The Merry Widow. She also performed Cunegonde in excerpts from Candide with Opera Roanoke and Drexel University Chorus and Orchestra.

She has also been an award winner with the Gerda Lissner Foundation, Marie E. Crump Vocal Arts Competition, MacAllister Awards, New Jersey Association of Verismo Opera Vocal Competition, Annapolis Opera Vocal Competition, The American Prize, Octave Artist Management Excellence in Arts, James Parkinson Opera Competition, Kennett Symphony Orchestra Vocal Competition, and the Altamura/Caruso International Vocal Competition.