In 2026, Sager made two major role debuts with Opera San José, first as Nedda/Colombina in Leoncavallo’s Pagliacci and subsequently in the title role of Violetta in Verdi’s La traviata.

Sager’s debut as Violetta brought particular critical acclaim for both her vocal fearlessness and dramatic versatility. Parterre Box declared, “she’s got the pipes,” calling Sager “about as fearless a Violetta as you’ll see just about anywhere.” The critic praised her “flawless intonation,” comparing her voice to “a young Ghena Dimitrova mixed with Barbara Frittoli,” and wrote of her Act I scena: “She dispatched ‘E strano…Sempre libera’ like an All-Star basketball player shooting hoops during warm-ups.”

Her Violetta received further acclaim from Classical Voice, which praised Sager’s “big and expressive voice” and called her “a compelling performer from start to finish,” equally convincing as the elegant and independent courtesan, the woman in love, and the heroine facing her final illness. Cordell Reports celebrated her “dark spinto voice” and command of Violetta’s coloratura, noting the ease with which she navigated the character’s emotional journey from the brilliance of “Sempre libera” to the devastating final act. Other critics singled out her “perfectly balanced vibrato” and described her upper register as creating “a crystalline lacework of sound.”

Earlier that season, Sager’s Nedda/Colombina in Pagliacci was praised by Classical Voice for its “great beauty, clear tones and excellent acting.” Operaville likewise celebrated the lyricism and playfulness of her Colombina and the dramatic precision of her Nedda, describing her facial acting as the tragedy unfolded as “fascinating to watch.”

On the concert stage, Sager appeared as soprano soloist in Verdi’s Requiem with the Stanford Symphony Orchestra and Stanford Symphonic Chorus, where The Classical Voice hailed her “stunning performance,” particularly in the “Libera me,” writing that her “sizable voice filled the hall with ease and beauty that fit the piece perfectly. It was as if Verdi wrote the part for her.” In July 2026, Sager joined Vancouver Opera for Opera in the Park under the baton of Maestro Jacques Lacombe, performing excerpts from Puccini’s Tosca and Verdi’s La traviata.

Sager recently appeared with Opera San José as Mimì in La bohème under Joseph Marcheso. Her recent concert repertoire also includes Poulenc’s Stabat Mater with Stanford Live, Verdi’s Requiem with the Queens College Choral Society, and Beethoven’s Ah! perfido with the San Francisco Opera Orchestra.

A former Adler Fellow with San Francisco Opera, Sager appeared during the company’s centennial season as Der Hüter der Schwelle des Tempels in Die Frau ohne Schatten conducted by Sir Donald Runnicles, where Opera Canada wrote that Sager “demands attention” and called her rich soprano “arresting.” Her San Francisco Opera appearances also include Kate Pinkerton in Madama Butterfly under Eun Sun Kim, Image No. 1 in Gabriela Lena Frank’s El último sueño de Frida y Diego under Roberto Kalb, Sister Felicité in Dialogues des Carmélites under Eun Sun Kim, Inez in Il trovatore, and Giannetta in L’elisir d’amore. She covered Violetta in La traviata, Donna Elvira in Don Giovanni, and Eliza in Rhiannon Giddens and Michael Abels’ Omar. With the San Francisco Opera Orchestra, she has performed excerpts as Leonora in Il trovatore, Anna Bolena, and Desdemona in Otello.

Sager has also appeared as Mimì in La bohème in performances with San Francisco Opera and the UC Davis Symphony Orchestra at the Mondavi Center. Other operatic roles include Violetta (La traviata), Fiordiligi (Così fan tutte), Vitellia (La clemenza di Tito), Micaëla (Carmen), Donna Anna (Don Giovanni), Pamina (Die Zauberflöte), and the Fox (The Cunning Little Vixen). Following her debut as Norina in Don Pasquale with Venture Opera, Opera Canada praised her “edgy intensity” and noted that she “augmented her vocal prowess with enviable acting skills.”

Concert and recital appearances have taken Sager to Carnegie Hall, David Geffen Hall, Festival Napa Valley, and the Hawaii International Music Festival, among other venues. She has performed at David Geffen Hall with the New York Philharmonic and has appeared in recital and concert throughout the United States and Canada.

An alumna of the Manhattan School of Music, Sager is the recipient of the 2022 Maria Manetti Shrem Prize at Festival Napa Valley and a winner of the Joan Sutherland & Richard Bonynge Foundation’s Elizabeth Connell Competition. Her competition distinctions also include semifinalist honors at the Tenor Viñas Competition, finalist recognition from the Jensen Foundation Vocal Competition and the National Opera Association’s Carolyn Bailey and Dominick Argento Competition, and a District Award from the Metropolitan Opera National Council Auditions.