Maja Tremiszewska
Pianist / vocal coach
About Me
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I’m a classically trained concert pianist and vocal coach who happily lives in the overlap of piano, opera, and the beautifully unpredictable world of collaboration—where anything can happen, and often does. I was born and raised in Poland, where my musical roots run deep, but in 2003 I made Boston my artistic home, performing as a recitalist, soloist, collaborative pianist, and occasional orchestral keyboardist on stages across Boston, New York, and beyond.
Along the way, I’ve had the privilege of performing in some truly remarkable spaces: from Boston Symphony Hall and Tanglewood’s Koussevitzky Music Shed with the Boston Pops, to Merkin Hall in New York for the premiere of Larry Bell’s Preludes and Fugues. I’ve appeared at the Harvard Art Museums with the Refugee Orchestra Project, at the Cutler Majestic Theatre in Boston Lyric Opera’s The Rake’s Progress, and at the Tsai Performance Center in Ravel’s Piano Concerto in G with the Boston University Symphony Orchestra—proving that whether it’s opera, orchestral repertoire, or an intimate recital, I’m happiest wherever music, storytelling, and a bit of controlled chaos come together.
Opera is very much the gravitational center of my musical life. Over the years, I’ve had the joy (and occasional adrenaline rush) of working as an Emerging Artist and staff pianist with Boston Lyric Opera, and as Master Coach for the MassOpera Young Artists Program at Longy. I’ve also worn many hats—coach, répétiteur, musical problem-solver—for companies such as MassOpera, Guerilla Opera, Boston Opera Collaborative, and NEMPAC. My repertoire stretches comfortably from Mozart to Poulenc, with plenty of Verdi, Donizetti, Britten, and Massenet along the way—essentially, if there are singers and drama involved, I’m probably interested.
I’ve been a proud collaborator with Enigma Chamber Opera since its founding in 2019, helping bring to life Britten’s Curlew River, The Burning Fiery Furnace, and The Prodigal Son, as well as The Turn of the Screw performed at the New England Conservatory. I also recorded piano tracks for Mozart’s The Impresario, a delightful reminder that behind all the elegance, Mozart had a sharp sense of humor about the operatic world. More recently, my travels have taken me from Meyerbeer’s Le Prophète and Saint-Saëns’ Henry VIII at Bard SummerScape, to Wagner’s Das Rheingold in Miami, to Norma and La Damnation de Faust with the Boston Youth Symphony Orchestra. I even made my way to Portugal and Spain to play continuo for Handel’s Acis and Galatea with the group of students from the Shenandoah Conservatory.
Beyond the opera pit (and occasionally climbing out of it), I’ve built a parallel life as an orchestral keyboardist, performing with ensembles such as the Boston Pops, Boston Landmarks Orchestra, Brookline Symphony Orchestra, Miami Summer Music Festival Orchestra, and the Boston Conservatory at Berklee Orchestra. During my doctoral studies at Boston University, I was a frequent guest at the piano with the university’s orchestras, appearing both as keyboardist and soloist in repertoire ranging from symphonic staples to opera to the occasional cinematic score.
I also occasionally swap the stage for the lectern, wearing both a chamber musician’s and a scholar’s hat. In fall 2025, that dual identity took me to Gdańsk, where I presented and performed at the International Chamber Music Conference From the Forgotten Pages of Polish Chamber Music—a fitting excuse to bring overlooked repertoire back into the spotlight, and to return, briefly, to my musical roots.
I currently serve as Assistant Professor of Vocal Coaching at Shenandoah Conservatory, where I spend my days doing what I enjoy most: helping singers navigate everything from Mozartian elegance to full-blown operatic drama (and all the linguistic and musical puzzles in between). I previously taught in the Voice Department at Boston Conservatory at Berklee, where I also worked as a répétiteur for opera productions.
My work has been recognized with first prize at the First International Chamber Music Competition of the Chamber Music Society of New England, which led to a performance at Weill Recital Hall at Carnegie Hall. I hold a Doctor of Musical Arts in Collaborative Piano from Boston University, a Graduate Performance Diploma from Boston Conservatory, and both Bachelor’s and Master’s degrees in Piano Performance from the Stanisław Moniuszko Academy of Music in Gdańsk.
Along the way, I’ve been fortunate to take part in fellowships and residencies at the Aspen Opera Center, the Miami Music Festival, and Chicago Summer Opera—experiences that sharpened my adaptability, deepened my stylistic range, and taught me that no two productions or rehearsal processes, are ever quite the same.
These days, I’m based in Ashburn, Virginia.