British cellist Sally Singer Tuttle has given numerous world premiere performances of solo and chamber works in Europe and throughout the United States and performed as a soloist with orchestras such as the St. Petersburg Chamber Phliharmonic, Russia; the Pleven Philharmonic, Bulgaria; the Stony Brook Symphony Orchestra, New York; the Danbury Symphony, Connecticut; and the Washington-Idaho Symphony Orchestra, amongst others. 

Singer Tuttle performed as a soloist with orchestras such as the St. Petersburg Chamber Phliharmonic, Russia; the Pleven Philharmonic, Bulgaria; the Stony Brook Symphony Orchestra, New York; the Danbury Symphony, Connecticut; and the Washington-Idaho Symphony Orchestra, amongst others.

Chamber performances highlights include the Tanglewood Music Center, the Metropolitan Museum of Art, Alice Tully Hall, first prize in the John Ireland Chamber Music Competition, British National Television appearances, the Governor’s Mansion, Washington, the Vovka Ashkenazy Piano Trio, and collaborations with leading artists Ian Swensen, Nathaniel Rosen, Heasook Rhee, Steven Doane, Anthony Elliott and Rachel Barton Pine. Recent world premier performances include the works of composers Laura Kaminsky, Wayne Horvitz, Bern Herbolsheimer, Thomas Flaherty and Marilyn Shrude.
 
Dr. Singer Tuttle is a new faculty member at Whitman College, where she teaches cello and double bass and serves as cellist and Artistic Director for the New York-based organization Sankusem, which is dedicated to the exploration and performance of African Art Music written for classical instruments.

She will soon release a CD of works written by the Ghanaian composer Kwabena Nketia, along with pianist George Francois and violinist Rachel Barton Pine. 

Sally is a member of the Volta Piano Trio. The trio was formerly known as the Icicle Creek Piano Trio. They released two CDs highly acclaimed by Gramophone, The Strad, Fanfare magazines, the American Record Guide and others, under the label Con Brio recordings.

Within the last year the Seattle Times Arts magazine complimented her performance of the Rachmaninoff Sonata as having an “exacting architectural sense and emotional sense” and “protean precision.”

She plays an English cello made by Bernhard Simon Fendt in 1835.