Mezzo-soprano Abigail Nims is recognized for her musical integrity and versatility, with a repertoire spanning from Monteverdi to premieres of contemporary works. Particularly praised for her expressive interpretations and tonal beauty in the concert repertoire, she has appeared as a soloist with the San Francisco Symphony, Saint Paul Chamber Orchestra, Boston Baroque, Carmel Bach Festival, Detroit Symphony Orchestra, São Paulo Symphony Orchestra, Baltimore Symphony Orchestra, Colorado Symphony, Teatro Municipal (Chile), Portland Baroque Orchestra, Orquesta Sinfónica Nacional de México, Louisiana Philharmonic Orchestra, Indianapolis Symphony Orchestra, and Colorado Music Festival, among others. Her collaborations include renowned conductors Michael Tilson Thomas, Leonard Slatkin, Roberto Abbado, Nicholas McGegan, John Butt, Gary Wedow, Martin Pearlman, Grete Pedersen, Peter Oundjian, and Carlos Miguel Prieto.

On the operatic stage, she has performed leading roles with Wexford Festival Opera, New York City Opera, Atlanta Opera, Palm Beach Opera, Opera Omaha, Florentine Opera, Virginia Opera, Opera Grand Rapids, and Opera New Jersey.

Her discography includes Boston Baroque’s Grammy-nominated recording of Monteverdi’s Il ritorno d’Ulisse in patria (Linn Records); Mazzoli and Vavrek’s Proving Up with the International Contemporary Ensemble (Pentatone); Peter Ash’s The Golden Ticket with Atlanta Opera (Albany Records); and Martin Bresnick’s song cycle Falling, recorded with pianist Wei-Yi Yang on the album Every Thing Must Go (Albany Records).

Originally from Delaware, Ohio, Nims serves on the voice faculty at the University of Colorado Boulder. She holds degrees from the Yale School of Music, Westminster Choir College, and Ohio Wesleyan University.

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Mezzo-soprano Abigail Nims is regarded as a musician of integrity and versatility for her performances of repertoire spanning from Monteverdi, Bach, and Mozart to Crumb, Ligeti and premieres of contemporary works.

Particularly praised for her expressive interpretations and tonal beauty in the concert repertoire, her career has included performances as soloist in Stravinsky’s Pulcinella, Haydn’s Harmoniemesse, and Crumb’s Night of the Four Moons with the Saint Paul Chamber Orchestra; Bach’s St. John Passion with the Orquesta Sinfónica Nacional de Mexico, the Louisiana Philharmonic, and the Colorado Bach Ensemble; Bach’s Mass in B minor with the San Francisco Symphony, the Colorado Bach Ensemble, and the Boulder Bach Festival; Bach’s Magnificat with the São Paulo Symphony; Beethoven's Symphony No. 9 with the Detroit Symphony, the Indianapolis Symphony, the Huntsville Symphony, the Colorado Springs Philharmonic, Eugene Symphony, and Santa Rosa Symphony; Beethoven's Mass in C and Choral Fantasy with the San Francisco Symphony; Handel's Messiah with the Portland Baroque Orchestra, the Baltimore Symphony, Virginia Symphony, Phoenix Symphony, Tucson Symphony, Naples Philharmonic, Indianapolis Chamber Orchestra, Colorado Bach Ensemble, and the Boulder Philharmonic; Mozart's Requiem with the Colorado Symphony, ProMusica Chamber Orchestra (OH), the Quad Cities Symphony, the Midland-Odessa Symphony, and the Denver Philharmonic; Dvorák’s Stabat Mater with the Bach Festival Society of Winter Park; Mozart's Mass in C Minor with the Huntsville Symphony; de Falla’s Three Cornered Hat and Mendelssohn’s A Midsummer Night’s Dream with the Colorado Music Festival; Mahler’s Symphony No. 2 with Teatro Municipal (Chile) and the Duluth Superior Symphony; Mahler’s Symphony No. 3 with Augusta Symphony; Bach's Christmas Oratorio with the Indianapolis Chamber Orchestra; Bach's St. Matthew Passion with the Shreveport Symphony and the Boulder Philharmonic; Mahler’s Rückert Lieder with the Colorado MahlerFest; Berlioz’s Les Nuits d’été with the Adrian Symphony Orchestra; George Benjamin’s Upon Silence and Vivaldi’s Stabat Mater with the New England String Ensemble; and Brahms’ Liebeslieder Walzer at the Norfolk Chamber Music Festival. Ms. Nims frequently performs in recital at the University of Colorado-Boulder. Additionally, she has presented recitals at Trinity Church, Wall Street; Wexford Festival Opera; on Kaleidoscope Chamber Orchestra’s Concert Series, and as guest alumna at Ohio Wesleyan University.

Highlights of Ms. Nims’ opera career include Veruca Salt in Peter Ash’s The Golden Ticket at the Wexford Opera Festival and Atlanta Opera; Melanto in Monteverdi’s Il ritorno d’Ulisse in patria with Boston Baroque; Lazuli in L’Étoile with New York City Opera; Despina in Così fan tutte with Palm Beach Opera and Opera Grand Rapids; Taller Zegner Sister in Mazzoli and Vavrek's Proving Up with Omaha Opera and NYC's Miller Theatre; Nancy in Albert Herring with Florentine Opera; Prince Orlofsky in Die Fledermaus with Virginia Opera; Zerlina in Don Giovanni with Opera New Jersey and Opera Grand Rapids; Zefka in “Scenes of Gypsy Life” (Janácek/Dvorák) with New York’s Gotham Chamber Opera; Milena in the world premiere of Martin Bresnick’s My Friend’s Story at the International Festival of Arts and Ideas; Hermia in A Midsummer Night’s Dream with the Princeton Festival; Dinah in Trouble in Tahiti with Orchestra Sinfonica di Milano Giuseppe Verdi; Meg in Little Women and Cherubino in Le nozze di Figaro with Opera Delaware; and Tessa in The Gondoliers with Opera North.

Ms. Nims has performed as soloist under renowned conductors including Michael Tilson Thomas, Leonard Slatkin, Roberto Abbado, John Butt, Gary Wedow, Martin Pearlman Carlos Miguel Prieto, Thomas Zehetmair, Giuseppe Grazioli, and JoAnn Falletta. Her recordings include the role of Taller Zegner Sister in Missy Mazzoli and Ross Vavrek's Proving Up with the International Contemporary Ensemble (Pentatone, 2020); Melanto in Monteverdi's Il ritorno d’Ulisse in patria on the Grammy-nominated Boston Baroque recording (Linn Records, 2015); Veruca Salt in Peter Ash’s The Golden Ticket (Albany Records, 2012); and Martin Bresnick’s song cycle “Falling,” featured on the composer’s compilation album Every Thing Must Go (Albany Records, 2010).

Ms. Nims is a member of the voice faculty at the University of Colorado-Boulder. She has received awards from the Fritz and Lavinia Jensen Foundation Competition, Santa Fe Opera, the Carmel Bach Festival, the American Bach Society/Bach Choir of Bethlehem Competition, and Yale School of Music. Originally from Delaware, Ohio, she holds degrees from Yale School of Music, Westminster Choir College, and Ohio Wesleyan University.