View artists profile - BASS EDWIN JHAMAAL DAVIS BASS BIOGRAPHY Praised by opera critic Voce di Meche for his “juicy, booming and room-filling bass” accompanied by “mesmerizing, fully immersed acting,” basso profondo Edwin Jhamaal Davis has quickly established himself as an artist on the rise. Last season, Mr. Davis returned to Carnegie Hall in Mozart’s Requiem and sang the bass solo in Stravinsky’s Pulcinella with the Mainly Mozart Festival at Lincoln Center. In addition, he made his New Orleans Opera début as Angelotti in Tosca , returned to Seattle Opera as the Second Armored Man in Die Zauberflöte , and sang The Commander in the Off-Broadway production of Mozart’s Don Giovanni – A Rock Opera . This season, Mr. Davis sings the bass solo in Verdi’s Requiem with Louisiana Philharmonic Orchestra and New Orleans Opera, and he makes his role and house débuts as Basilio in Knoxville Opera’s production of Il barbiere di Siviglia . Recently, 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 joined Opera Grand Rapids as the King in Aida , performed as the bass soloist in Handel’s Messiah for Danbury Symphony, made his Carnegie Hall début as the bass soloist for Verdi’s Requiem with Masterworks Chorus, 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 2020-21 season. READ MORE Edwin made his professional début with Opera Mississippi as Simone in Gianni Schicchi . He is an alumnus of Jackson State University where he earned a Bachelor of Science in Biology Pre-Medicine with dual minors in Chemistry and Music. He received his master’s degree from the prestigious Manhattan School of Music where he studied with acclaimed baritone Mark Oswald and performed such roles as Wurm in Verdi's Luisa Miller , Osmin in Mozart’s Die Entführung aus dem Serail , and Masetto in Mozart's Don Giovanni , and covered Reverend Olin Blitch in Susannah . He has appeared as guest soloist at various national venues such as Pompano Beach Orchestra's Messiah , Bronx Concert Singers’ winter and spring programs, and St. Mark’s presentation of Messiah . Mr. Davis was the National First Place Winner of the Marian Anderson Vocal Arts Scholarship hosted by the National Association of Negro Musicians in its centennial celebration. He was a winner of the Metropolitan Opera National Council Auditions Eastern Region, and he became one of the first African Americans to claim one of the top two prizes in Opera Columbus’s Cooper-Bing Vocal Competition. He is a proud native of Utica, MS. Current as of June 25, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "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..."

View artists profile - ACTOR/DIRECTOR ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM IMDB KARL MICHAEL IGLESIAS ACTOR/DIRECTOR BIOGRAPHY Karl Michael Iglesias is a Puerto Rican actor, director, author, and poet, whose artistry spans multiple forms. He is known for his roles on TV shows like Extra Room , directed by Gabriel Stelian-Shanks , Evil and Instinct on CBS, The Last OG on TBS, and Chicago PD on NBC. Karl took on the lead role in the film Find the Cure for Fashion Film and was featured in Invisible Lines . Additionally, he graced the Off-Broadway stage as Paco in The Oxcart at Roundabout Theatre. Karl’s expertise in theatre has been showcased in many different roles, including Oscar in Grand Concourse at Forward Theatre, Jo/Wood Brother in Call of the Wild with Milwaukee Rep, Graffiti Pete in In the Heights at Skylight Theatre, Tybalt in Romeo and Juliet at First Stage, and El Hijo in LUCHADOR! He also co-authored and performed in Turbulence and If a Tree Falls . As a poet, Karl has opened shows for notable acts such as Anderson Paak, Mac Miller, Chance The Rapper, Ludacris, and Kendrick Lamar. He's also contributed his verse skills at esteemed venues such as The Public Theater, Dance Theater of Harlem, and The Kennedy Center. With over a decade of experience as a teaching artist, Karl is a seasoned facilitator and a professional director specializing in verse work and new BIPOC creations for both stage and screen. Karl's poetic voice extends beyond the stage and has been featured in distinguished publications such as The Florida Review, RHINO Poetry , Brooklyn Review , Madison Review , and Breakbeat Poets Vol4: Latinext (2020). Karl's professional training took place at various professional institutions, including the #BARS Workshop at The Public Theater and First Wave Hip Hop Theater Ensemble. Karl earned a Bachelor of Arts in Theater and Drama from the University of Wisconsin-Madison. Current as of April 26, 2024 FULL PRESS KIT LATEST NEWS REPRESENTATIVES THEATRE Aaron Sanko FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson

View artists profile - COMPOSER ARTIST WEBSITE FACEBOOK YOUTUBE CHRISTIAN DE GRÉ CÁRDENAS COMPOSER BIOGRAPHY Mexican Artist Christian De Gré Cárdenas has emerged as one of the most influential contemporary voices in the development of new works in New York City. He has spearheaded numerous international projects in film, theater, television, music, publishing, web-media, fine-art and radio such as Fatty Fatty No Friends (FringeNYC Excellence Award Winner, Innovative Theater Award Nominations for Best Music and Best Musical, New York Musical Festival Best of Fest, Showscore Critic's Pick, Time Out New York Critic's Pick), Beware The Chupacabra (FringeFAVE, FRINGE ENCORES), Whiskey Pants: The Mayor of Williamsburg (Audience Favorite at FRIGID New York, Showscore Critic's Pick, off-broadway premiere at HERE), Ampathy (Excellence Award winner at FRIGID) and Broken Crayons (Golden Palm at the Mexico International Film Festival). Most recently, his work was seen at Joe’s Pub in Twisted Operettas, and in Acedia at the Brick. This season, his work will be seen at Feinstein's/54 Below. READ MORE A self-taught composer, De Gré Cárdenas has written and produced 28 original award-winning plays, musicals, operettas, operas, and song-cycles in New York City at world renowned organizations like Joe's Pub at The Public Theater, Feinstein's/54 Below, HERE Arts Center, and La Mama E.T.C. He has been commissioned to write music for The Discovery Channel, Drama Desk Awards, The United Nations, and The Mexican Cultural Institute of New York. De Gré Cárdenas has trained activists in Eastern Europe, Northern Africa and the Americas as the Theater for Social Change Partner of the United Nations International YPeer Network. Other projects include fine art exhibitor at the 69th Regiment Armory (Time-Out New York: Photo of the Week) and published poet in Story Time with Mr. Buttermen: Fables for Adults Living in a Modern World (available on Amazon). He is an alumnus of the American Academy of Dramatic Arts and The Broadway League’s Commercial Theater Institute and is currently enrolled in the BMI Lehman Engel Musical Theater Workshop. Having served as the General Manager and Director of Operations at The New York International Fringe Festival for five years and as Artistic Director of Mind The Art Entertainment for over a decade, De Gré Cárdenas has overseen the opening of over 1,000 new theatrical productions in New York City. In 2018 he was appointed as Director of OPERA America's National Opera Center in New York City Current as of August 30, 2023 FULL PRESS KIT LATEST NEWS REPRESENTATIVES LITERARY Aaron Sanko LITERARY Shawn Marie Jeffery CRITICAL ACCLAIM "...earnestly spirited..." – NY Theater Now – “De Gre’s macabre songs are impressible sombre and earnestly spirited” __________ "...the perfect answer..." – OffTheBeatenTrackTheater – “De Gré’s operettas (similar in style to Sondheim) are the perfect answer to the accusation that there is no new musical theater of quality being made.” __________ "...Different, proud and exciting to hear..." – Theater in the Now – “When something different arrives, you take note. De Gré’s music is just that. Different, proud and exciting to hear.” __________ "...exquisite music..." – Hy Reviews – “De Gré’s exquisite music is in a galaxy all its own.”

View artist profile - MEZZO-SOPRANO ARTIST WEBSITE FACEBOOK YOUTUBE AUDREY BABCOCK MEZZO-SOPRANO BIOGRAPHY Genre-bending mezzo-soprano Audrey Babcock has captivated audiences worldwide with her mesmerizing performances and versatile vocal and dramatic range, establishing herself as a compelling interpreter in the world of opera. Her exceptional ability to embody character and her passion for craft have earned her a place among the most esteemed vocalists of her generation. Most recently, Audrey returned to Utah Opera for Mrs. Lovett in their production of Sweeney Todd , sang Santuzza in Cavalleria rusticana with Opera Orlando, and her made directorial début staging Carmen for Opera Memphis. Additional recent appearances include her role début as Amneris in Aida and Mrs. Gibbs in Ned Rorem’s Our Town with Utah Festival, Laura Huxley in Huxley’s Last Ride with The LSD Opera in Los Angeles, and Flora in Opera Omaha’s La Traviata . The 2025-2026 season brings her multi-layered Carmen to Charlottesville Opera, a return to Anchorage Opera and the role of Amneris in Aida , and an appearance with the South Dakota Symphony for Da Falla’s Three Cornered Hat . Dedicated to contemporary works, Audrey recently débuted the roles of Toledo in Redler/Dye’s new work The Falling and Rising with Arizona Opera and Opera Carolina, Nica in Yardbird with Seattle Opera, and Eva in An American Dream with Opera Santa Barbara, and she has worked closely with Pulitzer Prize-winning composers Ellen Reid and Jorge Sosa. As a producer, writer, and creator, her projects Lily; her life, his music — the story of a queer Jewish heroine who escapes Nazi Germany, told through the music of Kurt Weill — and Beyond Carmen , with flamenco guitarist Andres Vadin, provide audiences an evening of compelling, thought-provoking storytelling with sensational presentation. Additional premieres include Tobias Picker’s Thérèse Raquin (NY premiere — Dicapo Opera), With Blood, With Ink (world premiere — Fort Worth Opera), La Reina (American Lyric Theater and Prototype Festival), The Poe Project (American Lyric Theater), and Winter’s Tale (Prototype Festival). READ MORE An accomplished Carmen with more than 200 performances, Ms. Babcock made her French début in the title role with the Festival Lyrique en Mer and has sung it with Florentine Opera, Nashville Opera, Florida Grand Opera, New York City Opera, San Antonio Opera, Knoxville Opera, Opera Delaware, Toledo Opera, Anchorage Opera, Dayton Opera, Fort Worth Opera, Mill City Summer Opera, and Utah Festival Opera, of which The Salt Lake Tribune wrote “Audrey Babcock's performance as Carmen was a spellbinding tour de force...from the moment she took the stage her self-assured characterization was mesmerizing… Babcock's caramel-hued mezzo was a pleasure... her supple tones caressed the notes, radiating earthy allure.” Engaging beyond singing and acting, Ms. Babcock also works as a movement and breath specialist and a dance and fight choreographer skilled in hand-to-hand combat as well as weaponry. On the concert platform, Ms. Babcock has sung Verdi’s Requiem with Dayton Opera, West Virginia Symphony Orchestra, and the Reading Symphony Orchestra, Handel's Messiah with the Salastina Society and Norwalk Symphony, Mahler’s Symphony No. 2 with the National Symphony Orchestra of Costa Rica, the Duruflé Requiem at Carnegie Hall, Mass of Life at Carnegie Hall with the American Symphony, Berlioz’s Nuit D'ete with the West Virginia Symphony and the Southwest Florida Symphony, and Mahler’s Songs of a Wayfarer with the West Virginia Symphony. Additional career highlights include Maddalena in Rigoletto with Palm Beach Opera, Boston Lyric Opera, Opera Omaha, Tulsa Opera, Florentine Opera, and Nashville Opera, the title role in María de Buenos Aires (San Diego Opera), Mrs. Lovett in Sweeney Todd (Wolf Trap Opera), Elizabeth Proctor in The Crucible (Opera Santa Barbara), Donna Elvira in Don Giovanni (New Orleans Opera), Aldonza in Man of La Mancha (Utah Opera, Shreveport Opera, and Lyric Opera of San Diego), Erika in Vanessa (Sarasota Opera), Second Lady in Die Zauberflöte (Spoleto Festival USA), the Secretary in The Consul (Long Beach Opera, Chicago Opera Theater, and New Jersey Opera), Suzuki in Madama Butterfly (Opera Santa Barbara and Tulsa Opera), Jo in Little Women (Utah Opera and Syracuse Opera), and Mrs. Mister in The Cradle Will Rock (Opera Saratoga), for which a cast recording was released in 2018. Ms. Babcock is a graduate of the Peabody Conservatory with a BM in Voice and the California Institute of the Arts with an MFA in VoiceArts with concentrations in Producing and Dramaturgy, and she has a certification in Somatic Voice Work™ the LoVetri Method. She currently serves on the Voice faculty and teaches movement and sound in the Drama department at the California Institute of the Arts, the Musical Theatre faculty at California State University, Fullerton, as well as Voice faculty at California State University, Los Angeles. Ms. Babcock’s numerous awards include “Artist of the Year” for her portrayal of Jo in Mark Adamo’s Little Women (Syracuse Opera), the George London Award, the Fritz and Lavinia Jensen Foundation Award, and the Opera Index and Sullivan Foundation Encouragement Awards. Recording under the name Aviva, she has released an album of Ladino pieces called Songs for Carmen , a collection of works sung in Ladino and Arabic, inspired by the character Carmen. Current as of July 11, 2025 CRITICAL ACCLAIM "...constantly compelling..." – Orlando Sentinel Cavalleria Rusticana – "Audrey Babcock gives Santuzza the drive and despair of a woman who's losing at love and knows it. She, too, is constantly compelling, and her anger and grief seem to rise from her body into her voice." __________ “... simply fabulous…” – Cache Valley Daily Beyond Carmen – "In Beyond Carmen – Ms. Babcock’s pas de deux with classical guitarist Andrés Vadin – she delivered a sultry, beguiling, seductive vocal performance at the Ellen Eccles Theatre on July 26. Ms. Babcock’s singing was simply fabulous. . . Ms. Babcock delivered stunning vocals as she explored Ladino folk songs and lullabys, all leading up to the Bizet’s familiar “Habanera,” followed by a taste of flamenco as an encore. It was a spellbinding experience.” __________ "...this soprano has a voice and a presence that cannot be denied..." – Front Row Reviewers Aida – "Babcock as the Egyptian princess Amneris is strong and assertive and this soprano has a voice and a presence that cannot be denied...Babcock shimmers—she is absolutely stunning." __________ "... a moving, haunting performance…” – San Diego Union Tribune Maria de Buenos Aires – “As Maria, mezzo-soprano Audrey Babcock gives a moving, haunting performance and her dusky, flexible voice soars, especially in the famous aria “Yo soy Maria.”” __________ "... Babcock's Carmen simmered with sensuality..." – Minneapolis Star-Tribune Carmen – “Sometimes opera performances are dominated by a single singer. That was the case Friday evening …Babcock's Carmen simmered with sensuality. But her proud, principled embrace of the bohemian lifestyle — and her refusal to be trammeled by the men in her life — lent ballast to the sex kitten manipulations. Seductive? Yes, but Babcock was a thinking Carmen, too, a woman who knew her worth and had no intention of letting it be diminished. Vocally Babcock had the part nailed, too. Light and playful in numbers such as the Act 1 set-piece "Habanera," her voice expanded thrillingly in the later confrontations with Don José, while never losing a satisfying bloom and plenitude." __________ "... a stunningly full-throated performance..." – Broadway World Rigoletto – “Mezzo soprano Audrey Babcock, as the manipulative and cunning Maddalena, very nearly steals the show in her third act appearance, giving audiences a mere glimpse of what we can expect from her Carmen, the centerpiece of Nashville Opera's 30th Anniversary Season: She gives a stunningly full-throated performance of the sexy and sensuous Maddalena and the senses reel in anticipation of her Carmen.” __________ "... a well projected, amber-hued tone..." – Opera News Little Women – “Babcock won empathy as the intractable member of the March family’s four sisters... She deftly negotiated the score’s angular melodies with incisive pitch, supple coloratura and a well projected, amber-hued tone.” __________ "Mezzo-soprano Audrey Babcock ate the role of Augusta Tabor with a spoon." – Parterre Box Ballad of the Baby Doe – "Mezzo-soprano Audrey Babcock ate the role of Augusta Tabor with a spoon. She relished every glorious character moment this role had to offer her and keenly took thorough advantage of all of them...Vocally, she was extremely strong, even in Moore’s most taxing writing of the role for the ‘Leadville Fricka.’ Plus, if she ever gets to sing Strauss’s Klytemnestra, she’s already got the perfect gown and I will insist she take it out of her closet for an encore." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

Explore the roster at UIA Talent Agency - Productions. PRODUCTIONS SEARCH BY ARTIST/DIRECTOR Audrey Babcock Jeffrey Buchman Adrienne Danrich Malena Dayen Lawrence Edelson Stephanie Havey Fenlon Lamb Timothy Long Chia Patino Sparks and Wiry Cries Brain Staufenbiel Mo Zhou SEARCH BY TITLE Ainadamar The Anonymous Lover The Barber of Seville Beyond Carmen The Consul Birds and Balls Carmen Das Rheingold Don Giovanni Fearless Florencia en el Amazonas Hansel and Gretel La bohème Lily; Her Life, His Music Madama Butterfly The Magic Flute North American Indigenous Songbook El Oratorio Panhispánico This Little Light of Mine The Shining Sky on Swings Songs In Flight 1 2 3

View artist profile - ACTOR MEDIA ACTOR'S ACCESS INSTAGRAM LORENZO PUGLIESE ACTOR REPRESENTATIVES THEATRE Aaron Sanko FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson

View artists profile - MASTER TEACHER ARTIST WEBSITE WARREN JONES MASTER TEACHER BIOGRAPHY Warren Jones enjoys a notably eclectic career that has taken him to virtually every corner of the musical world. He performs with some of today’s best-known artists such as Stephanie Blythe and Anthony Dean Griffey, and he is the Principal Pianist for the exciting California-based chamber music ensemble, Camerata Pacifica. In the past he has partnered such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, James Morris, and Martti Talvela; and he has appeared in concerts with both the Juilliard Quartet and the Borremeo Quartet. Recently, Mr. Jones has appeared in recital with baritone Sidney Outlaw at The Atlanta Opera and San Francisco Opera and led masterclasses at Merola Opera Program and Source Song. This season includes Master Teacher residencies and masterclasses at Temple University and Boston Conservatory. READ MORE Mr. Jones is a longtime faculty member at the Manhattan School of Music and a former faculty member at the Music Academy of the West, and recently finished an appointment as Artist in Residence in Music at the Mason Gross School of the Arts at Rutgers University. In 2017, Mr. Jones was invited by the National Association of Teachers of Singing to be the inaugural Master Teacher in their Intern Program for young collaborative pianists at the Faculty of Music at the University of Toronto; and later in that year, he served as Artist in Residence in Opera at New England Conservatory and at the University of North Carolina School of the Arts. Mr. Jones has received the “Achievement Award” from the Music Teachers National Association of America, their highest honor; and has been selected as “Collaborative Pianist of the Year” by the publication Musical America. In the summer of 2018, he inaugurated an innovative Vocal Workshop program at the Manchester Music Festival in Vermont for young singers and pianists, and he will return there following this engagement in Toronto. His schedule in 2019 also included a residency at the University of Colorado at Boulder where he taught and performed alongside members of the Takacs Quartet. As an invited guest at the White House, Mr. Jones has performed for state dinners in honor of the leaders of Canada, Russia, and Italy; and three times he has been the guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. As a musical jurist, he has participated in judging the Van Cliburn International Piano Competition, the Montreal International Vocal Competition, the Metropolitan Opera National Auditions, and the Naumberg Awards. He joined the jury of the prestigious First China International Piano Competition in Beijing in May 2019. A graduate of both New England Conservatory and San Francisco Conservatory of Music, Mr. Jones was honored with the Doctor of Music degree from SFCM, and recently was selected as a faculty member of the Board of Trustees at MSM. His discography contains thirty-one recordings on every major label in a wide range of classical, romantic, and contemporary repertory. Most recently, recorded Lament, live at Brevard Music Center, alongside baritone Sidney Outlaw. His conducting appearances are similarly varied: he has led sold-out critically acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, Donizetti’s Don Pasquale, Mozart’s Die Zauberflöte, and Trouble in Tahiti of Bernstein. In 2014, he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera. Current as of August 17, 2023 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General CRITICAL ACCLAIM "... endlessly fascinating…” – The Irish Times “Wednesday's NCH/The Irish Times Celebrity concert by the violin and piano duo of Catherine Leonard and Warren Jones placed what you might regard as exemplary test pieces at either end of what turned out to be an evening of hugely stimulating music-making. The lazy meditativeness of Ravel's opening movement was beautifully caught, as if the two players were musing with a kind of independent togetherness. Jones's dissection of the piano writing in the central Blues movement was endlessly fascinating, with even the slightest and shortest of chordal dabs given perfect harmonic colouring, and the violin's strumming sounding more banjo-like than ever. The moto perpetuo finale was breathlessly exciting." __________ "... near-flawless…” – The Boston Globe “The songs of Richard Strauss, however, five of which followed, are never easy. The soprano - gorgeous in a powder blue gown and iridescent wrap - treaded cautiously, particularly in the middle part of her range, which bordered on an incorporeal delicacy. On the top, though, the familiar gilt-edged timbre still gleamed, while Warren Jones, the superb pianist, judiciously reduced the dynamic without sacrificing tonal depth. In a near-flawless "Morgen," Jones's pearly luminescence and Dame Kiri's silken line were in magical, crystalline confluence.” __________ "... the recital's high point..." – Philadelphia Inquirer “Dame Kiri Te Kanawa opened the Kimmel Center's classical-music season Saturday ... in recital with pianist Warren Jones ... The biggest challenges were positioned at points when Te Kanawa would be vocally freshest, progressing from there into her comfort zone but avoiding sameness with fluctuating emotional temperature and varied piano writing, which was always noticeable because Jones is so interesting. He brought a particular celestial expansiveness to Strauss' 'Morgen.' We know from the composer's own recordings that he'd never stretch a musical idea so far. ... It was the recital's high point."

View artists profile - ACTOR ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM DAN HOY ACTOR BIOGRAPHY Dan Hoy has been praised by critics across the country for his “incredible voice”, “heartrending performances”, and “rousing” stage presence. He traveled the US and Canada with the 1st national tour of the Cats revival as Munkustrap, where critics described his performance as “rich,” “bold,” and “engaging,” with one reviewer stating, “Hoy’s performance is stunning. In almost every single scene he is in, he steals… He manages to be a Jellicle star.” This season, Dan appears as Anatole in Natasha, Pierre, and the Great Comet of 1812 at the Idaho Shakespeare Festival and makes an exciting debut, soon to be announced. READ MORE Last season, Dan made his off-Broadway debut in Between the Lines at the Tony Kiser Theater/2nd Stage, serving as the production’s principal standby and dance captain. Select regional credits include Drew in Rock of Ages at John W. Engeman Theater, Billy in Carousel at Off-Brand Opera, Gabe in Next to Normal at Theater on the Square, the title role in Pippin at Thin Air Theater Company, Jamie in The Last Five Years at Revolution Theatrics, Jim O’Connor in The Glass Menagerie at Big Dog Theatrics, and Trigorin in The Seagull at Arts Haus. In addition to his theatrical pursuits, Dan has appeared in numerous concert engagements, ranging from solo shows at 54 Below to symphonic premieres at Carnegie Hall. He holds a Bachelor of Music in Music Theatre from Baldwin Wallace University. Current as of July 19, 2023. FULL PRESS KIT LATEST NEWS REPRESENTATIVES THEATRE Aaron Sanko FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson CRITICAL ACCLAIM “...a wonder..." – BroadwayWorld LA Cats – “Specialty song and dances are filled with bold personality, the most engaging of which is Munkustrap (Dan Hoy), the alpha male protector of the group who also acts as narrator. In a show that can overwhelm the senses with all of its moving parts, his face in stillness is a wonder.” __________ "...stunning..." - The Signal Cats – As a general rule, there is not a true protagonist in 'Cats,' but Hoy’s Munkustrap definitely tries to be in this production. Munkustrap is the show’s emcee and Hoy’s performance is stunning. In almost every single scene he is in, he steals. While Munkustrap is one of the few Jellicle cats that does not receive a musical introduction, he manages to be a Jellicle star.

View artist profile - CONDUCTOR ARTIST WEBSITE FACEBOOK INSTAGRAM TIMOTHY LONG CONDUCTOR BIOGRAPHY Timothy Long is a distinguished conductor, pianist, and composer of Muscogee and Choctaw descent who is Artistic and Music Director of Opera at Eastman School of Music and an assistant conductor at the Metropolitan Opera. He is an enrolled citizen of the Muscogee Nation and the Thlopthlocco Tribal Town and his mother is Choctaw. This season, Tim joins the Toronto Summer Music Festival to conduct concert performances of Missing , returns to the Metropolitan Opera to conduct the workshop production of The Mothers of Kherson , and serves as the program curator for a performance of the North American Indigenous Songbook with Resonance Ensemble. In addition, he will return to Eastman Opera Theatre to conduct Christopher Cerrone and Stephanie Fleischman’s In a Grove and the world premiere of Steve Bramson and Gayle Hudson’s new opera Click . Last season included Strauss’s Ariadne auf Naxos: Prologue , Purcell’s Dido and Aeneas , and Poulenc’s Dialogues des Carmélites for Eastman Opera Theatre. Tim also joined the Metropolitan Opera as an assistant conductor for X: The Life and Times of Malcolm X and the Lindemann Young Artist Development Program’s Orchestra Workshop, and he served as the cover conductor for the Metropolitan Opera’s productions of La bohème and Antony and Cleopatra . Additional recent highlights include the World Premiere of How Bright the Sunlight by Anthony Davis and Joy Harjo (Muscogee Nation citizen, 23rd US Poet Laureate) with the Eastman Philharmonia, the American Premiere of Missing for his début at Anchorage Opera, Handel’s Semele for Wolf Trap Opera, and the In Harmony: Side by Side series with the Mostly Mozart Festival Orchestra at Lincoln Center. READ MORE At the age of 16, Tim made his piano concerto debut with the Oklahoma Symphony Orchestra, and has since performed as a soloist with the Chamber Orchestra of Philadelphia, the Lawton (OK) Philharmonic, the Beethoven Society Orchestra of Washington DC, the Sociedad Filarmonica de Conciertos of Mexico City, the Oklahoma Summer Arts Institute Orchestra, the Eastman School Symphony Orchestra, and the Eastman Philharmonia. His work on Thomas Adès’s operatic tour-de-force Powder Her Face at the Aspen Music Festival led to his appointment as assistant conductor of the Brooklyn Philharmonic and he was subsequently named an associate conductor at the New York City Opera. After early years playing as a violinist in the Oklahoma City Philharmonic, Tim’s passion for symphonic conducting has resulted in engagements with the Chamber Orchestra of Philadelphia, the Mostly Mozart Festival Orchestra, the Brooklyn Philharmonic, the Oklahoma City Philharmonic, the Prince George Symphony, the Regina Symphony, the Eastman Philharmonia, the Prague Summer Nights Orchestra, the Oregon Bach Festival Orchestra, and the Trondheim Sinfonietta. His operatic conducting engagements have included such companies as Boston Lyric Opera, Wolf Trap Opera, Opera Colorado, Utah Opera, Tulsa Opera, Opera Theatre of Saint Louis, Anchorage Opera, Pacific Opera Victoria, City Opera Vancouver, The Juilliard School, Yale Opera, the New York City Opera, and off-Broadway with The New Group. At City Opera Vancouver, Tim conducted the 2017 World Premiere of Missing , a groundbreaking new work by Marie Clements and Brian Current about the 5,000 missing Indigenous women in Canada. In 2019, he conducted a Canadian tour of Missing with Pacific Opera Victoria, the Regina Symphony Orchestra, and the Prince George Symphony Orchestra. This extraordinary composition is the first opera to be sung in both the Gitxsan and English languages. As a pianist and harpsichordist, Tim has performed throughout the world at venues such as Carnegie Hall, Lincoln Center, Merkin Hall, the Kennedy Center, National Sawdust, the Kimmel Center, Jordan Hall, Wigmore Hall in London, the Alte Oper in Frankfurt, Herkules Hall in Munich, Dvořák Hall in Prague, La Halle aux Grains in Toulouse, the Oregon Bach Festival, the Aspen Music Festival, the Caramoor Festival, and the Dame Myra Hess Series in Chicago, among many others. Tim’s recordings include Alburnum , with internationally renowned baritone Brian Mulligan (Bright Shiny Things, 2022), Beauty Intolerable: Songs of Sheila Silver (Albany Records, 2021), the American Classics recording of Dominick Argento song cycles with Brian Mulligan (2017 Naxos), the Opera America Songbook (Opera America, 2012), and The Music Teacher (Bridge Records, 2008), starring Wallace Shawn, Parker Posey, and Elizabeth Berkley. He has appeared on NPR, NBC’s Today Show, and CBS Sunday Morning. Tim is passionate about his role as president of The Plimpton Foundation ( theplimptonfoundation.org ), which promotes the work of Native American and First Nations performing artists through scholarships, grants, and commissions. He is proud to be joining the Board of Directors of Opera America, and is a 2024 inductee into the Oklahoma Music Hall of Fame. Current as of July 8, 2025 CRITICAL ACCLAIM "... deft musical direction..." – Rochester City Newspaper The Tibetan Book of the Dead – “Eastman's take on "The Tibetan Book of the Dead" leaves the audience with plenty to ponder: a heartfelt reflection on death as a vital part of life, sung with conviction and manifested through intelligent set design by Daniel Hobbs and deft musical direction by conductor Timothy Long." __________ “... verve and confidence…” – Tulsa World Tulsa Opera Gala – “Oklahoma native Timothy Long, in his company debut, led the Tulsa Opera Orchestra through the wide-ranging program with verve and confidence." __________ "... a colorful performance…” – Salt Lake Tribune Die Zauberflöte – “Tim Long conducted the Utah Symphony in a colorful performance of Mozart’s rich score.” __________ "... lively, spot-on tempos..." – The Denver Post La Cenerentola – “Pacing is everything in this meticulously interwoven production, and conductor Timothy Long could hardly handle it more adroitly, with lively, spot-on tempos that kept the action - and the comedy - whizzing along.” __________ "... full command of the score..." – Boulder Daily Camera Dead Man Walking – “New to CU Opera is Timothy Long, guest music director for this production. He has a full command of the score, stressing that despite its melodic richness there is nothing saccharine about it, for throughout the work Heggie keeps a firmly defined distance from sentimentality.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General

View artist profile - ACTOR MEDIA ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM IMDB KARL MICHAEL IGLESIAS ACTOR REPRESENTATIVES THEATRE Aaron Sanko FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson

Get in touch with the team at UIA Talent Agency. CONTACT GENERAL INQUIRIES T 212.969.1797 F 646.349.5651 NEW YORK 850 Seventh Avenue Suite #1003 New York, NY 10019 SEEKING REPRESENTATION? Artists looking for representation, please click below to use our Talent Submission Form. Apply here Please do not call inquiring about the status of a submission. We look at each submission when we can and will be in touch if we would like to inquire further. Thank you for your patience and understanding! SEND US A DIRECT MESSAGE SEND MESSAGE Thank you! We will get back to you shortly. SEND US A DIRECT MESSAGE SEND MESSAGE Thank you! We will get back to you shortly. SEND US A DIRECT MESSAGE SEND MESSAGE Thank you! We will get back to you shortly. EMPLOYMENT OPPORTUNITIES At UIA Talent Agency, we believe in fostering the next generation of entertainment leaders. Our internship program is designed to provide hands-on, multi-disciplinary experience in the heart of New York City. We offer internships during three seasonal terms: Fall, Spring, and Summer. Why Intern at UIA? We foster a strong, collaborative environment. Our interns don’t just observe, they contribute to each area of representation across opera, theatre, film, and television. Former UIA interns have gone on to prestigious positions at major opera companies, leading production houses, and the NBC Page Program. The Logistics: ● Format: Hybrid (1 day/week in our Midtown Manhattan office) and others days from home ● Commitment: 10–15 hours per week, flexibly arranged ● Compensation: Our internships are unpaid; however, we provide reimbursement for travel and lunch expenses ● Credit: We offer college and graduate school credit and will gladly provide references or letters of recommendation upon successful completion Interested in joining us? Contact Adrienne Boris at careers@uiatalent.com for more information. Summer 2026 - Talent Agency Intern

View artist profile - BASS-BARITONE ARTIST WEBSITE INSTAGRAM MONÉT X CHANGE BASS-BARITONE BIOGRAPHY Born and bred in New York City, Monét X Change is an entertainment spitfire and international drag superstar. She appeared on RuPaul’s Drag Race Season 10, earning the title Miss Congeniality, and she became the first queen of color inducted into the Drag Race Hall of Fame after winning RuPaul’s Drag Race All-Stars Season 4. Known for delivering energetic and show-stopping performances, Monét’s showmanship reflects a tireless work ethic. After her initial appearance on RuPaul’s Drag Race , Monét released a début EP, Unapologetically , traveled around the globe with her one-woman show, Call Me by Monét , hosted her own talk show, The X Change Rate , produced by Yahoo!, and began focusing her oftentimes sociopolitical humor as the co-host of two popular podcasts: Sibling Rivalry with Bob the Drag Queen and Ebony and Irony with the legendary Lady Bunny. She was also the host of Pit Stop , the wildly popular Rupaul’s Drag Race recap show, for Seasons 14, 16, and 17 as well as All Stars 8 and 10. READ MORE During her run on RuPaul’s Drag Race All-Stars: All Winners (season 7) Monét shocked audiences with her masterful rendition of “Vi ravviso, o luoghi ameni” from La sonnambula . Following this performance, Monét has been highly sought after in the classical music world. Engagements have included The Duchess of Krakenthorp in La fille du Regiment with Minnesota Opera which she subsequently reprised with Opera Colorado, a guest appearance with Dayton Opera as a soloist in Prince Orlofsky's Grand Masquerade , their gala concert version of the second act of Die Fledermaus , and she served as Emcee and performed in Glam Jam: A bene-fȇte for Minnesota Opera. In addition, she was a featured soloist in Lincoln Center for the Performing Arts’ annual Gala Concert, appeared in the opera film Opulent with the New Jersey Symphony featuring arias from Mozart, Puccini, and Schubert, was a featured vocalist with San Francisco Symphony, performed in Cincinnati Symphony Orchestra’s Pride Block Party concert, and took her new one–woman show Life Be Lifin’ to the Bard SummerScape Festival’s Spiegeltent series. Most recently, Monét appeared as a guest star in Season 2 of the Netflix series Survival of the Thickest and she will be a contestant on Season 4 of the NBC/Peacock original series, The Traitors , which will air in early 2026. Previous screen appearances include Chris Rock’s Everybody Still Hates Chris on Comedy Central, Glamorous on Netflix, and Lovecraft Country on HBO. Currently, Monét is also touring her one–woman show Life Be Lifin’ in addition to hosting her regular Podcast/YouTube show Monét Talks. Monét holds a degree in Opera Performance from Westminster Choir College. Current as of September 10, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony Aaron Sanko Film/TV/Theatre