top of page




Praised by opera critic Voce di Meche for his “juicy, booming and room-filling bass” accompanied by “mesmerizing, fully immersed acting,” basso profondo Edwin Jhamal Davis is quickly establishing himself as an artist on the rise to watch. Last season, Mr. Davis made his house débuts in X: The Life & Times of Malcolm X with The Metropolitan Opera as Garvey Preacher and with Seattle Opera as Bass 2, a role he reprised in the previous season with Opera Omaha. He also joined First Coast Opera, Amelia Island Opera, Opera Montana, and Opera Memphis for Colline in La bohème. He made his Carnegie Hall début in Mozart’s Requiem and sang the bass solo in Stravinsky’s Pulcinella with the Mainly Mozart Festival at Lincoln Center. This season, he makes his New Orleans Opera début as Angelotti in Tosca and returns to Seattle Opera as the Second Armored Man in Die Zauberflöte.


Recently, he joined Opera Grand Rapids as the King in Aida, performed as the bass soloist in Handel’s Messiah for Danbury Symphony, and was a Glynn Studio Artist with The Atlanta Opera, where he appeared in such roles as Masetto in Don Giovanni. He was previously a member of San Francisco Opera’s prestigious Merola Opera Program where he performed Sarastro in Die Zauberflöte, as well as excerpts from Macbeth as Banquo. Previous engagements include Bass 2 in X: The Life & Times of Malcolm X for Detroit Opera, Sparafucile in Rigoletto for the Florentine Opera, the bass soloist in What Lies Beneath for On Site Opera, and Uncle Wesley in Night Trip for Portland Opera. He toured with the American Spiritual Ensemble, sang the world premiere of Brother Nat: Rise, Revolt, Redemption in the role of Will at the Boston Paramount Theatre, and was a featured soloist in the symphonic premiere of Without Regard to Sex, Race or Color, a musical work inspired by the photographic artistry of Andrew Feiler and composed by Doug Hooker for the National Civil Rights Museum. Edwin also joined Portland Opera as a Resident Artist for the 2020-2021 season.



"His booming room-filling voice..." – Voce di Meche

Osmin in Die Entführung aus dem Serail – "Bass Edwin Davis impressed us with his portrayal of the comically nasty Osmin, servant to the Pasha. He so immersed himself in the role that it never seemed like acting. It would have been a mesmerizing performance if he had never sung a note; but his booming room-filling voice was marvelously employed to serve the role. The difficult third aria "Ha, wie will ich triumphieren" contains some of the lowest notes in the bass repertory and he nailed them."


"a focused, resonant, deliciously dark sound..." – Elaine Schmidt, Journal Sentinel

Sparafucile in Rigoletto – "Bass Edwin Davis brought a focused, resonant, deliciously dark sound to the role of Sparafucile ... using that sound as the core of a dark-hearted character."


"chilling basso notes" – Urban Milwaukee

Sparafucile in Rigoletto – "In a large cast of capable singers, there were some standouts: The chilling basso notes of Edwin Davis as the assassin Sparafucile..."


Vanessa Uzan

Founder & President

Adrienne Boris

Agent | Classical & Concert

Elliot Brown

Agent | Classical & Artist Promotion

bottom of page