Amy Likar has performed across the United States and Europe and regularly in the San Francisco Bay Area both as a member of the Oakland Symphony and as a freelance musician. As a freelance musician she has appeared with Opera Parallèle, West Edge Opera, Festival Opera, Berkeley Chamber Opera, Soli Deo Gloria, Marin Symphony, Sacramento Philharmonic, Modesto Symphony, the San Francisco Opera Orchestra, the San Francisco Ballet Orchestra, and for touring Broadway productions in San Francisco.
Amy has been a soloist and guest artist at colleges and universities throughout the United States and Europe performing recitals and advocating new works by composers.
Composers Martin Rokeach, Donald Sloan, Michael Stephens, Daniel Felsenfeld, Stephen Hofer, Anthony McDonald, and Polly Moller have all written works for her that she has premiered. She has also been a member of the Flute New Music Consortium for several years and has participated in the commissions of works by Zhou Long, Carter Pann, and Valerie Coleman. In addition, she has participated in joint commissions by Timothy Hagen and Jim Stephenson.
She has performed with Oakland Symphony colleague Rena Urso and pianist Miles Graber for many years in the chamber group the Alcyone Ensemble. She has also collaborated with pianist Miles Graber for many years.
For many years she collaborated with soprano Jenni Cook and Miles Graber in the chamber group Ciel, Aer et Vent.
Amy Likar has been a Powell player for 23 years and is pleased to be a Powell Performing Artist.
Artist Review: San Francisco Chronicle, March 19, 2016 Rokeach’s concerto was the centerpiece of Friday’s concert by the Oakland Symphony under Music Director Michael Morgan at the Paramount Theatre. It featured a dazzling solo turn by Amy Likar, who sounded entirely in sympathy with the work’s fundamental premises. In particular, Likar was clearly intent on bringing out the more expressive vein in Rokeach’s writing, and outlining a dramatic relationship between soloist and orchestra that was not quite antagonistic — in the manner of traditional Classical and Romantic concertos — and yet not quite collaborative either. And in the long-breathed melodies of the slow movement, which Likar delivered with winning tonal beauty and eloquence, you can hear a new kind of character being forged for the piccolo. It’s the kind of thing that instrumentalists all over might undertake. -Joshua Kosman, San Francisco Chronicle