Hailey McAvoy’s Journey as an operatic trailblazer for liberation and visibility for performers with disabilities is one that is changing who we see on our opera stages.
In the world of opera, where tradition often dictates the norms of performance, Hailey McAvoy stands out as an artist who is redefining what it means to be a singer with a disability. Her journey—from a young girl aspiring to be a singer-songwriter to becoming an opera singer—is one of resilience, self-discovery, and a deep love for storytelling through music.
Discovering Opera and Embracing the Art Form
McAvoy’s passion for music began with a love for lyrics and storytelling. As a teenager, she aspired to be a singer-songwriter but soon realized that if she wanted to develop these skills, she needed some formal training. This led her to the New England Conservatory Preparatory School at the recommendation of her high school music teacher. Initially, she expected to study pop music, but her assigned teacher, Sabrina Learman, introduced her to classical repertoire instead. Although she was hesitant at first, it was a Brahms song, “Treue Liebe,” that truly ignited her passion. The words were so beautiful that she felt compelled to learn the piece, marking the beginning of her deep connection to classical singing.
Navigating the Opera World with Cerebral Palsy
Diagnosed with Cerebral Palsy at 16 months old, McAvoy has faced challenges that many of her colleagues in the opera world would never have to consider. Her condition, specifically Spastic Diplegia (GMFCS II), primarily affects her legs, making accessibility a key factor in her career. For example, a crucial challenge is navigating stairs that have no railing, a circumstance McAvoy often encounters when taking the stage for auditions. To maintain stability, she often asks for assistance with stairs leading up to the piano, an experience that made her acutely aware of the unspoken questions and assumptions people might make about her. Rather than allowing misconceptions to define her, McAvoy decided to take control of the narrative. She began speaking openly about her disability to eliminate the silent speculation and encourage honest dialogue, providing audition panels the opportunity to understand her reality rather than guess.
Challenging the Industry’s Perception of Disability
The opera industry has a long history of performers with disabilities, but often under the expectation that they hide or downplay their condition. McAvoy challenges this notion, questioning why the ability to mask a disability is seen as a measure of excellence. “Would their careers have been longer? Would their performances have been even better if they hadn’t carried the burden of hiding?” she ponders.
Her advocacy work is rooted in the belief that every artist should have the opportunity to perform at their highest level without having to conform to inaccessible standards. She emphasizes that opera is a collaborative art form, and the weight of hiding one’s true self can be detrimental to both the performer and the production. Instead of asking performers to adapt to rigid structures, she believes companies should work collaboratively to create environments where artists can thrive as their authentic selves.
Conforming to inaccessible standards is not just emotionally traumatizing but can also be a serious threat to an artist’s physical safety. McAvoy has known of performers with disabilities who have left the field due to the risk caused by inaccessible standards to their physical and emotional health. These performers leaving the field also creates a dangerous narrative for the people in power: “We don’t need this to be accessible; there are no disabled singers anyway!”
Hailey McAvoy performs in Opera Praktikos’s production of There Will Be Cake, 2024.
Progress and the Future of Inclusion in Opera
McAvoy acknowledges the progress being made in the industry, citing companies like Opera Praktikos in New York, with whom she worked this past fall, and innovative productions like Sensorium Ex, a new opera with music by Paola Prestini and libretto by Brenda Shaughnessy, in which she will sing the leading role this spring as part of the Common Senses Festival at Opera Omaha. Sensorium Ex thoughtfully engages with disability in an unprecedented way, and projects like it prove that there is a growing desire for the liberation and celebration of disability in artistic spaces. McAvoy is honored to be part of this movement.
Still, discrimination persists. While some companies celebrate diversity, others may see disability as a liability. McAvoy understands that change will not come from waiting for universal acceptance but from working with those who are ready to create meaningful opportunities.
A Message to Her Younger Self
Reflecting on her journey, McAvoy wishes she could tell her younger self to listen to the inner voice that knew what she needed, like “sing from a chair” or “hold a colleague’s hand to go down the stairs.” Forcing herself for years to do the opposite in an attempt to fit in caused trauma. Hence the advice she would give to her younger self would be this: “There’s a voice inside of you that’s telling you what will help you sing better, what will make you freer. Please, start listening to that voice.”
She also encourages young singers to find mentors who will advocate for them. She was fortunate to have supportive figures like her first voice teacher and her high school music teacher, but she recognizes that internalized ableism made it difficult for her to accept their support. Now, she hopes to inspire others to embrace the guidance available to them.
Hailey McAvoy performs in Sensorium Ex, 2025.
Advice for Opera Professionals
For teachers, directors, and industry professionals working with singers with disabilities, McAvoy’s advice is straightforward: start a conversation. Many people hesitate to engage with disability inclusion out of fear of saying the wrong thing or not having the answers. McAvoy emphasizes that it’s not about having a perfect solution—it’s about listening, collaborating, and finding ways to support each artist’s unique needs.
She urges industry professionals not to feel pressured to fix every problem or have all the answers. Instead, they should trust that the disabled artist likely has a deep understanding of their own needs. The key is to ask questions, genuinely listen, and empower performers to advocate for themselves.
Hailey McAvoy and Thomas Ellenson in a workshop of Sensorium Ex at the Shed in New York City, 2025.
Looking Ahead
As McAvoy continues to build her career, she is determined to push for a future where opera gives fair and ethical treatment to artists with disabilities. She envisions an industry where accommodations are not seen as burdens but as pathways to artistic excellence. Through her performances, advocacy, and dedication to creating inclusive artistic spaces, she is proving that opera can—and should—be accessible to everyone.
Her journey serves as a reminder that great art is born from authenticity, and the most powerful performances come from those who are able to live fully in their truth.
To learn more, visit www.haileymcavoy.com.
