Known for her lyricism and expressiveness, Shannon Kessler Dooley’s most recent operatic credits include: Rosalinda in Die Fledermaus with Opera Wilmington, Cio Cio San (Madama Butterfly) with Chattanooga Symphony and Opera, Opera Theater of Connecticut, First Coast Opera, and Erie Chamber Orchestra, Biancofiore cover (Francsca da Rimini), Alice cover (Le Comte Ory) with The Metropolitan Opera, Pamina (Die Zauberflöte) with Erie Chamber Orchestra, Mimì (La Bohème) with Opera Theater of Connecticut, Narcissa (Philemon and Baucis) with the Spoleto Festival USA, Sister Constance (Dialogues of the Carmelites), Almirena (Rinaldo), Nannetta (Falstaff), Frasquita (Carmen), Lucia (Rape of Lucretia), Susanna (Le nozze di Figaro, youth performance ) with Pittsburgh Opera, Marzeline (Fidelio), Zerlina (Don Giovanni), and Clorinda (La Cenerentola) with Utah Opera, Micaëla, (Carmen) with Opera Theater of Pittsburgh. Concert credits include soprano solos in the Messiah, Peer Gynt, Brahms’ Ein Deutsches Requiem, Mozart Requiem, Haydn’s Lord Nelson Mass , and Ravel’s Shéhérazade, Schubert Mass in G, with Utah Symphony, Erie Philharmonic, Asheville Symphony, Erie Chamber Orchestra, Long Bay Symphony and Wilmington Choral Society.

In 2022 Ms. Dooley had the pleasure of debuting two new operatic roles, Violetta with First Coast Opera, and Musetta with North Carolina Opera. In addition to these two new roles she looks forward to reprising the role of Pamina with Opera Wilmington in Die Zauberflöte this summer.