She has performed in prestigious halls across the USA, including the War Memorial Opera House, Verizon Hall, the Academy of Music, Jordan Hall, the National Portrait Gallery, and with esteemed organizations including Opera Philadelphia, Washington Concert Opera, Opera Lafayette, Wolf Trap Opera, the Merola Opera Program, Opera Grand Rapids, the Amarillo Symphony, and the Dolce Suono Ensemble. She’s performed under the baton of Corrado Rovaris, Karina Canellakis, Daniela Candillari, George Manahan, Patric Furrer, Kelly Kuo, David Hayes, and in collaboration with directors R.B. Schlather, Stephanie Havey, Tara Faircloth, Emma Griffin, Gina Lapinski, kt shorb, and Alessandra Premoli. Her operatic repertoire captivates audiences with a diverse range that spans from the Seikilos Epitaph to Puccini to the compositions of George Benjamin. She has earned particular acclaim for her interpretations of French repertoire, English-language opera, and Mozart, heralded as a “tour de force” (Bachtrack) during her first appearance as Donna Elvira in Don Giovanni.

An artist who holds recital and chamber music close to her heart, Ashley has collaborated with respected instrumentalists and chamber ensembles including the Dolce Suono Ensemble and Seraph Brass. She has performed in recital tours and recital series since 2013. Her staged rendition of Hugo Wolf's Italienisches Liederbuch toured alongside pianist Mikael Eliasen and baritone Dennis Chmelensky with Curtis on Tour, Music for Montauk, and the La Jolla Athenaeum. She joined Music From Angel Fire for their summer residency, where she spent weeks in the mountains of New Mexico performing chamber music alongside Ida Kavafian, Peter Wiley, Peter Llyod, Toby Appel, Cathy Meng-Robinson, Pamela Pyle, and colleagues from the Curtis Institute of Music. While at Angel Fire she collaborated with composer Dai Wei and cellist Zachary Mowitz on a piece for voice and cello, culminating in the world premiere of The Wind May Know.  Ashley initially fell in love with contemporary music while study/covering the role of Agnès in Written on Skin by George Benjamin. Since then she has performed works by Missy Mazzoli, Lee Hoiby, David Hanlon, Ricky Ian Gordon, David Hertzberg, Rene Orth, and more. She participated in the third iteration of Double Exposure, Opera Philadelphia's composer-in-residence spotlight event, in which she performed as Nellie Bly in an excerpt of Rene Orth's Ten Days in a Madhouse and Luna/The Girl in David Hertzberg's The Rose Elf. She also collaborated with Sante Fe Opera in their pre-workshop of David Hanlon’s The Pigeon Keeper. Additionally, Ashley collaborated with composer Alistair Coleman on the orchestral iteration of Gold Girl//Dark Doves for the Curtis 20/21 Ensemble, for which she was the performer and mentor/collaborator.

On smaller, smokier stages Ashley has found a happy home as a cabaret artist. She’s worked with the likes of The Bearded Ladies, the Philadelphia Fringe Festival, Martha Graham Cracker, the Pig Iron Theater Company, and even alongside Stephanie Blythe as their drag persona Blythely Oratonio. With extreme comfort in the repertoire, she enjoys presenting her spins on everything from Bernstein to Gershwin to Heath Allen, and especially Kurt Weill. 

Ashley attended the renowned Curtis Institute of Music. Performance highlights at the Curtis Institute include Tatyana (Eugene Onegin), Donna Elvira (Don Giovanni), Musetta (La bohème), Lauretta (Gianni Schicchi), Bianca (La rondine), Lucia (The Rape of Lucretia), Barbarina (Le nozze di Figaro), Jessie (Mahagonny: ein Songspiel), and Pousette (Manon). She also presented many recitals in the Curtis Student Recital Series with repertoire ranging from Palestrina to Rorem to The Cure.

An Alumna of the Meroal Opera Program, Wolf Trap Opera, and Opera Philadelphia's Emerging Artist Program, Ashley received her Master of Music in Opera and Bachelor of Music in vocal performance from the Curtis Institute of Music in 2020 and 2018 respectively, under the tutelage of Mikael Eliasen.