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

View artist profile - SOPRANO ARTIST WEBSITE INSTAGRAM YOUTUBE SARAH TUCKER SOPRANO BIOGRAPHY Described as “vocally glorious” ( San Diego Story ) and by Opera News as a “standout” with “impeccable pitch and phrasing,” acclaimed soprano Sarah Tucker is a must-see performer in leading opera houses across the United States and beyond. The upcoming 2025-2026 season brings Ms. Tucker’s return to Fargo Moorhead Opera for an exciting role début as Violetta in La traviata , her house début with Madison Opera as Fiordiligi in Così fan tutte , and the Countess in Le nozze di Figaro with Amarillo Opera. Most recently, Ms. Tucker returned to San Diego Opera to sing Mimì in La bohème , revisited the role of Micaela in Virginia Opera’s production of Carmen , and appeared as a guest soloist with the Newport Classical Festival. Additional recent engagements include her Sarasota Opera début as Micaëla in Carmen , her return to Gulfshore Opera as Liù in Turandot , and to Fargo Moorhead Opera as Mimì in La bohème , as well as appearances with Houston Grand Opera as Volunteer Girl in Another City , the Vallejo Center for the Arts as Tatyana in selections from Eugene Onegin , and the Dayton Philharmonic to premiere My Sister’s Voice by composer Reena Esmail. READ MORE Ms. Tucker recently made her Dallas Symphony début when she stepped in for an ailing colleague in Verdi’s Requiem at Highland Park Presbyterian. She also made her role début as Freia in Das Rheingold with Virginia Opera, brought her Adina in L’elisir d’amore to Dayton Opera, made a celebrated role début as Fiordiligi in Così fan tutte with San Diego Opera, joined North Carolina Opera as Pamina in Die Zauberflöte , returned to Gulfshore Opera for a reprise of her Mimì in La bohème , and performed Adina in L’elisir d’amore with Opera Maine. Other recent engagements have included several company débuts: Donna Anna in Don Giovanni with Pensacola Opera and Mimì in La bohème with Gulfshore Opera as well as cancelled performances as Tatyana in Eugene Onegin with Opera in the Heights. She débuted with The Dallas Opera as Frasquita in Carmen , San Diego Opera as Micaëla in Carmen , Intermountain Opera Bozeman as Tatyana in Eugene Onegin , and Opera Philadelphia where she reprised First Memory in Lembit Beecher’s War Stories , a role which she first premiered with Gotham Chamber Opera in New York City. Additionally, she sang Gilda in Rigoletto with Opera Connecticut and Lauretta in Gianni Schicchi with the Seiji Ozawa Matsumoto Festival. Other previous highlights include her début with Utah Opera as Micaëla in Carmen , several role débuts with Arizona Opera including Micaëla in Carmen , Rosalba in Florencia en el Amazonas and her San Francisco Opera début as Jano in Jenufa . Passionate about uncommon works as well as traditional operatic repertoire, Ms. Tucker collaborated with conductor Scott Terrell in Lexington Philharmonic’s 2015 Holiday Series, which included the rarely performed Song of the Angel by John Tavener. The piece’s haunting duet for soprano and solo violin requires great musical and vocal versatility, which was “stunningly realized by Tucker” (Tedrin Blair Lindsay, Contributing Music Critic, www.kentucky.com ). She was also the star of a cutting-edge workshop of composer Clint Borzoni’s The Copper Queen in which she performed the role of Julia Lowell as part of Arizona Opera’s “Arizona Spark” initiative. Other recent appearances include Norina in Don Pasquale with the Crested Butte Music Festival, and the soprano soloist in Handel’s Messiah with both Lexington Philharmonic and the Christ Cathedral (Crystal Cathedral) in Orange County, CA. Additional past credits include the roles of Contessa Ceprano and Paggio in Rigoletto , and Pamina in Die Zauberflöte at Arizona Opera , for which she received high acclaim. Ms. Tucker was a National Semifinalist in the 2014 Metropolitan Opera National Council Auditions. In addition to her success with MONCA, Ms. Tucker has received numerous awards in several nationwide vocal competitions. She was a finalist in the Fritz & Lavinia Jensen Foundation Voice Competition, in the Licia Albanese Puccini Foundation Competition she was a finalist and winner of the Encouragement Award, and she competed in the semifinals of the Dallas Opera Guild and Fort Worth Opera McCammon Vocal Competitions. She was member of the Arizona Opera Studio where she sang Nelly Nettleton in Arizona Opera’s innovative, multi-lingual production of Arizona Lady , in which also “danced like a flapper” ( Opera Today). Ms. Tucker is a recent graduate of the University of Cincinnati College‐Conservatory of Music (CCM). Current as of July 13, 2025 CRITICAL ACCLAIM "... delicate innocence and rich emotional depth..." – Classical Voice North America Die Zauberflöte – "The vocal prowess demonstrated on last night's stage was wholly mesmerizing. . . Sarah Tucker's interpretation of Pamina had both delicate innocence and rich emotional depth, and I was blown away by her ability to sing extreme pianissimo – kudos to the orchestra as well for matching the dynamic range with sensitivity." __________ "... Tucker also shows her range and vocal power..." – San Diego Union-Tribune Così fan tutte – “As Fiordiligi, soprano Sarah Tucker also shows her range and vocal power in the challenging first act aria “Come scoglio,” then exhibits her coloratura skills in the famous “Per pietà" aria.” __________ "... a beautifully rounded, well-supported soprano..." – Opera News L’elisir d’amore – “Sarah Tucker was a graceful Adina with a beautifully rounded, well-supported soprano that meshed perfectly with Wheeker’s Nemorino—a point established immediately in their Act I duet, “Chiedi all’aura lusinghiera.” __________ "... impeccable pitch and phrasing..." – Opera News Carmen – “Sarah Tucker’s Micaëla also stood out. Her gleaming soprano, long blond braids and simple dress cried innocence amidst the morally ambiguous surroundings. Her passionate “Je dis que rein ne m’épouvante” showed impeccable pitch and phrasing.” __________ "... her high notes had a radiant bloom..." – Opera Today Die Zauberflöte – “The star of the show was Marion Roose Pullin Studio Artist Sarah Tucker who sang Pamina. She has already been a Marcello Giordani Young Artist and Metropolitan Opera National Council 2014 Auditions semifinalist. Her voice was sweet and her high notes had a radiant bloom." __________ "... heart-rending and soulful performance..." – San Diego Union-Tribune Carmen – “Also making standout debuts are soprano Sarah Tucker, with her heart-rending and soulful performance as Micäela, the virgin country girl Don José discards in his lust for Carmen." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

View artists profile - MEZZO-SOPRANO INSTAGRAM CATHERINE MARTIN MEZZO-SOPRANO BIOGRAPHY Praised by The Washington Post for her “gorgeous, warm voice that you want to keep listening to,” American mezzo-soprano Catherine Martin continues to make an impact in repertoire ranging from Verdi and Wagner to Strauss and Bellini. Last season, Ms. Martin returned to The Metropolitan Opera to cover Giulietta in Les contes d’Hoffmann and The Atlanta Opera to sing Juno in Semele . Moreover, she joined the Sacramento Philharmonic & Opera as Santuzza in Cavalleria rusticana and Detroit Opera to sing the District Attorney in The Central Park Five . This season, Ms. Martin returns to Lyric Opera of Chicago to sing the role of Page and cover Herodias in Salome , and she returns to The Metropolitan Opera to cover the Countess de Coigny in Andrea Chénier and Brangäne in Tristan und Isolde . Ms. Martin is a frequent guest artist with The Metropolitan Opera having appeared there to cover Sister Helen Prejean in Dead Man Walking , Preziosilla in La forza del destino , and Marguerite in Berlioz’s Le damnation de Faust . With the Lyric Opera of Chicago, she has covered the roles of Eboli in Don Carlos , Sister Helen Prejean in Dead Man Walking as well as sung the roles of Eva Crowley in An American Dream , Waltraute in Twilight: Gods , and Hécube (while covering Didon) in Les Troyens . READ MORE Other highlights from recent seasons include her Atlanta Opera début as Waltraute in Die Walküre ; a role début as Fricka in Dayton Opera’s Das Rheingold ; Amneris in Aïda with Houston Grand Opera, Opera Carolina, Opera Colorado, and Opera Santa Barbara; Maddalena in Rigoletto with New Orleans Opera and Opera Santa Barbara; Herodias in Salome with Dayton Opera; Adalgisa in Norma with Florida Grand Opera; Santuzza in Cavalleria rusticana with Opera Colorado; Geneviève in Pelléas et Mélisande and Clarice in The Love for Three Oranges with Des Moines Metro Opera; Mistress Quickly in Falstaff and Eboli in Don Carlos for Maryland Lyric Opera; Orfeo in Orfeo ed Eurydice with Kentucky Opera; Witch in Hansel and Gretel with Rochester Philharmonic Orchestra; Der Komponist in Ariadne auf Naxos at The Glimmerglass Festival; Meg in Falstaff with Intermountain Opera; Leonora in La favorita with New Amsterdam Opera; Annina and the cover of Octavian in Der Rosenkavalier with the National Symphony Orchestra; Lieder eines fahrenden Gesellen with the American Youth Philharmonic Orchestra; Messiah with the Handel Oratorio Society; Waltraute in Twilight: Gods with Michigan Opera Theatre; and performances in various roles from Wagner’s Ring Cycle with Houston Grand Opera, Washington National Opera, Boston Symphony Orchestra at Tanglewood, the Dallas Symphony, and the National Taichung Theatre in Taiwan. Ms. Martin is also an avid interpreter of contemporary opera. She has appeared as Sister Helen Prejean in Dead Man Walking with Minnesota Opera and Dayton Opera; the Minkswoman in Flight with Dallas Opera; Mary in the world premiere of The Lion, the Unicorn, and Me with Washington National Opera; Genevieve in The Long Christmas Dinner with American Symphony Orchestra; Tamara in Enemies, A Love Story with Kentucky Opera; Sara Miller in Approaching Ali with Washington National Opera; and the world premiere of Angela Rice’s Thy Will Be Done with the National Chorale at Lincoln Center . An alumna of the Houston Grand Opera Studio, she has performed Dorabella in Così fan tutte , Suzuki in Madama Butterfly , Anna in Maria Stuarda , Flora in La Traviata , Berta in Il barbiere di Siviglia , and Dryad in Ariadne auf Naxos with HGO. There, she worked extensively with conductor Patrick Summers and covered artists such as Susan Graham, Joyce DiDonato, and Michelle DeYoung in roles such as Der Komponist, Sister Helen, and the title roles of Xerxes and The Rape of Lucretia . She was a member of The Glimmerglass Festival Young Artists Program and was a Filene Young Artist with Wolf Trap Opera. Ms. Martin was a Grand Finalist and the only female representing the United States in the 2017 International Viñas Competition held at Barcelona’s Gran Teatre del Liceu. She received Richard Tucker Award nominations in 2015, 2016, and 2017 and was 2nd Place winner of the 2016 Maryland Lyric Opera Competition, 2nd place winner in the 2013 Jensen Competition, a semi-finalist in the 2012 Metropolitan Opera National Council Auditions, a finalist in 2012 and an Encouragement Award winner in 2013 in the George London Competition, winner of the 2011 National Opera Association Competition, a semi-finalist in the Hans Belvedere Competition, and has won awards from the Eleanor McCollum Competition at Houston Grand Opera, The Dallas Opera Guild, and Annapolis Opera. She has received The Richard F Gold Career Grant at both Houston Grand Opera and Wolf Trap and the Catherine Filene Shouse Career Grant. A native of San Antonio, Texas, she holds a master’s degree from the University of Cincinnati College-Conservatory of Music and a bachelor’s degree from the University of North Texas. Current as of June 17, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "... vocal power and richness..." – DC Theater Arts Falstaff – "Martin displays probably the most subtle and effective physical acting of any member of the cast while impressing with her vocal power and richness." __________ "... unleashing a wave of sound..." – Washington Classical Review Don Carlo – "Mezzo-soprano Catherine Martin, remembered fondly from her time in WNO’s Cafritz Young Artists program, made a fiery Princess Eboli. She was flirtatious in her “Veil Song” and then just as venomous when she learned she was not loved by Carlos, unleashing a wave of sound in the striking Act II scene with Carlo and Rodrigo. Her Act III showpiece, “O don fatale,” featured blistering high notes of rage.” __________ "... her buttery, rich mezzo-soprano..." – Opera News Twighlight: Gods – "Catherine Martin, as Waltraute, detailed Wotan's deterioration in her buttery, rich mezzo-soprano. . . Martin sang with fearless intimacy, masterful vocal integrity and the flawless diction that was this production's hallmark." __________ "... a thoroughly convincing and beautifully sung performance..." – Minnesota Star Tribune Dead Man Walking – “It's hard to imagine a stronger or more dramatically apt cast. . . Catherine Martin's Sister Helen displays a similar kaleidoscope of emotions in a thoroughly convincing and beautifully sung performance.” __________ "... Martin was an exceptional talent..." – BachTrack The Long Christmas Dinner – “Catherine Martin was an exceptional talent whose lush overtones gave rise to a sound that resonated to all parts of the hall. Undoubtedly capable of doing great justice to Wagner, Martin carried her part tastefully in the more intimate setting.” __________ "... the terrific Catherine Martin..." – The Washington Post Ariadne auf Naxos – “the terrific Catherine Martin, a mezzo familiar to Washington audiences who sang with assurance and a firm, golden voice."

View artists profile - ACTOR/DIRECTOR ACTOR'S ACCESS INSTAGRAM IMDB CHUK OBASI ACTOR/DIRECTOR BIOGRAPHY Chuk Obasi is a New York-based actor, writer, and director. He is currently the Co-Director at TÉA Artistry, a Company Member with The Private Theatre, and a Company Member with the People’s Theatre Project. Chuk has performed, written, or directed across disciplines, including theatre, film, television, dance, and live poetry performance. Recent acting credits include Rocco in Rocco, Chelsea, Adriana, Sean, Claudia, Gianna, Alex at HERE Arts; Doña Mañana with People’s Theatre Project; This Open Earth with Royal Family Productions; Somos Mas ; and the one-man play The Actual Dance at the United Solo Festival. Chuk’s writing credits include being the co-lyricist on Twisted Operettas at The Public Theater; the lyricist on A Drink with Death at Feinstein’s/54 Below, and the playwright for critically acclaimed play Uniform Justice , which he also directed and produced at the 2015 NY International Fringe Festival. Some of Chuk’s directing credits include The Neighbors at the Italian Theatre Festival and Let Me Fluff Your Pillow. Other notable works include being the curator of The OurStory Project, performing as a featured dancer in the music video for Vintage Trouble’s Outside In ; and Award-winning Feature films The Depths and 79 Parts . Chuk’s other film credits include a supporting role in the feature film Imitate the Sun , a featured role in Albanian Gangster , a lead role in Rhubarb , and a guest star on the Biography Channel’s Celebrity Ghost Stories . READ MORE With his company TÉA Artistry, Obasi was the Archive Resident Artist at the New Ohio Theatre for 2022-23. Oher residencies include a 2020 artist residency with Mt. Tremper Arts; 2019 Artist-in-Residence at the Caribbean Museum Center for the Arts in St. Croix, US Virgin Islands; A 2018 artist residency with The Marble House Project in Vermont (Actor); A 2016 artist residency at the Actor’s Studio (Actor); And 2015 arts residencies at Irondale Theater, SUNY Geneseo, and Central College in Iowa. Obasi is also an educator, having served as a Movement Project Director at the Stella Adler Studio of Acting, a Musical Theatre Adjunct Professor at Drew University, and a frequent guest teacher for LAByrinth Theatre among other engagements. Obasi holds a Bachelor of Arts degree from SUNY Geneseo, where he studied communication with a double minor in musical theatre and dance. He is also a recent recipient of the 2019 Zelda Fichandler Award - a full scholarship to study with the Michael Chekhov Association at Connecticut College in New London, CT. FULL PRESS KIT LATEST NEWS REPRESENTATIVES THEATRE/LITERARY Aaron Sanko

View artist profile - BASS-BARITONE JOSEPH BARRON BASS-BARITONE BIOGRAPHY Hailed by Anthony Tommasini of The New York Times as “vocally robust” and “lyrically malevolent,” American bass-baritone Joseph Barron is sought after for his portrayals in both dramatic and comedic repertoire. Last season, Mr. Barron returned to The Metropolitan Opera to cover Monterone in Rigoletto and the First Nazarene in Salome , and he joined Columbus Symphony for their concert of Messiah . This season, he will be returning to the Met to cover Bonze in Madama Butterfly . Recently, Mr. Barron returned to San Francisco Opera to cover King Heinrich in Lohengrin and The Metropolitan Opera to cover Melitone in La forza del destino , and he joined Houston Symphony to sing the Fifth Jew in Salome . In addition, he returned to The Metropolitan Opera to sing Monterone in Rigoletto and cover Swallow in Peter Grimes , débuted with Dallas Opera and The Atlanta Opera as Donner in Das Rheingold , and débuted with the Cleveland Orchestra as Happy in La fanciulla del West . He also sang Ramfis in Aida with Finger Lakes Opera. Mr. Barron has previously joined The Metropolitan Opera for productions of Don Giovanni , Le nozze di Figaro , Rigoletto , La fanciulla del West , Salome , Tannhäuser , The Nose , Boris Godunov , Turandot , and The Exterminating Angel . He appeared with San Francisco Opera in the world premiere of The Gospel of Mary Magdalene and covered Leporello in Don Giovanni . He has also performed Leporello in Don Giovanni with Opera Hong Kong, Opera Philadelphia, Arizona Opera, and New Orleans . Other recent débuts include Don Pizarro in Fidelio with Opera North Carolina and the Princeton Festival, Kaspar in Der Freischütz at Virginia Opera, and in the title role of Le nozze di Figaro at Opera Carolina and Opera Grand Rapids. READ MORE Other appearances include the Aix-en-Provence Festival and La Fenice as Polyphemus in Acis and Galatea ; The Glimmerglass Festival as Ramfis in Aida , Grandpa Moss in The Tender Land , and Antonio in Le nozze di Figaro ; Opera Philadelphia as Montano in Otello ; Pittsburgh Opera as Masetto in Don Giovanni , Prophet/Larry King in Dark Sisters , Alidoro in La Cenerentola , Geronimo in Il matrimonio segreto , Monterone in Rigoletto , Sprecher in Die Zauberflöte , and The Bonze in Madama Butterfly ; as well as the Spoleto Festival as Roldano in Cavalli’s Veremonda , Arizona Opera as Monterone in Rigoletto , Bard Summerscape as Basmanov in Dvorak’s Dimitrij , The Princeton Festival as Henry Kissinger in Nixon in China and Swallow in Peter Grimes , Finger Lakes Opera as Bartolo in Il barbiere di Siviglia , and Charlottesville Opera as Colline in La bohème . Recent concert engagements include Handel’s Messiah with the Mormon Tabernacle Choir and the Augustana Oratorio Society, his début at Carnegie Hall with the Gerda Lissner Foundation, the Eugene Symphony’s holiday pops concert, and Mozart’s Requiem with the Mulhouse Symphony Orchestra. A native of Pittsburgh, Pennsylvania, Mr. Barron has garnered top prizes from the Metropolitan Opera National Council Auditions, Sullivan Foundation, the Opera Index Vocal Competition, the Licia Albanese-Puccini Foundation Competition, the Gerda Lissner International Vocal Competition, and the Irma M. Cooper Opera Columbus Vocal Competition. He received his Master of Music at the Curtis Institute of Music and his Bachelor of Music from the Oberlin Conservatory of Music. Current as of September 1, 2025 CRITICAL ACCLAIM "... Joseph Barron, a Don Pizarro with few peers in the years since Friedrich Schorr, Josef Metternich, and Hans Hotter..." – Voix des Arts Fidelio – “In too many performances of Fidelio, the musical atrocities committed by interpreters of Don Pizarro, the tyrannical prison governor, are nearly as unpardonable as the character’s torture and detention of Florestan. The sagacity of North Carolina Opera’s casting of this Fidelio filled Meymandi Concert Hall with every note sung by bass-baritone Joseph Barron, a Don Pizarro with few peers in the years since Friedrich Schorr, Josef Metternich, and Hans Hotter last sang the rôle. Rather than the travesty of off-pitch caterwauling that it is in some productions, Pizarro’s tempestuous entrance aria ‘Ha! welch’ ein Augenblick!’ was genuinely sung in Barron’s performance, the full range of the music in the voice and the words hurled into the auditorium like grenades. Though appropriately savage, ‘Jetzt, Alter, jetzt hat es Eile!’ in the duet with Rocco was also uninfringably musical, and his voicing of ‘Verweg’ner Alter, welche Rechte’ in the quintet was vicious without being discordant. In the quartet in Act Two, Barron detonated a volatile ‘Er sterbe!’ that, like all of the bass-baritone’s singing on this evening, made its point without resorting to shouting and snarling.” __________ "... Barron commanded attention every time he entered the stage..." – Classical Voice of North Carolina Fidelio – “His bass was resonant and powerful, the voice of reason to Don Pizarro's aggressive bass-baritone, which was sung by Joseph Barron. Barron commanded attention every time he entered the stage, a convincing and compelling villain.” __________ "... a thundering bass voice..." – Town Topics Nixon in China – "Joseph Barron, singing the role of Nixon’s right-hand man Henry Kissinger, sang with a thundering bass voice reminiscent in range of Kissinger’s own gravelly speaking voice." __________ "... dark vocal timbres rich in narrative nuance..." – South China Morning Post Don Giovanni – “Joseph Barron as Leporello, the not-so-nobleman and his full-time wing man, both of whom conveyed moments of dark humour with dark vocal timbres rich in narrative nuance. . . Leporello followed his master’s every move with a distinctive mix of disgust and envy." __________ "... Joseph Barron’s rich bass-baritone made his scenes ring with threat and menace..." – Opera Wire Rigoletto – “An excess of riches, no question about it. And that included the somewhat ethical assassin, Sparafucile. Joseph Barron’s rich bass-baritone made his scenes ring with threat and menace (while still sounding gorgeous). And his singing in the Act three quartet helped make that a moment where I wished we could have revived the tradition of bis. Please, repeat!” __________ "... a smoothness to his robust bass-baritone..." – Seen and Heard International Rigoletto – “Joseph Barron was all business as her brother, Sparafucile; one body was as good as the next as long as he got his money. There is a smoothness to his robust bass-baritone that matches his total ease on stage.” __________ "... vivid and sonorous..." – Opera News Rigoletto – “Joseph Barron (Sparafucile) was vivid and sonorous” __________ "... Joseph Barron, whose bright, focused singing was suited to the role..." – Opera News Le nozze di Figaro – "The cast was strong from top to bottom, led by the enthusiastic portrayal of Figaro by Joseph Barron, whose bright, focused singing was suited to the role; his Figaro was believably enamored of his Susanna." __________ "... Seldom has evil been conveyed musically with such restrained relish..." – Broad Street Review Fidelio – "a marvel to hear, as are Andreasson’s bass-baritone and Joseph Barron’s bass (as Rocco and prison governor Don Pizarro, respectively), conveying starkly different personalities within such a close vocal range. . . The villain in this case is Don Pizarro, and a worse fiend can scarcely be imagined. Barron portrays the prison governor—a rival nobleman to jailed protest leader Florestan—with a pallor of evil usually reserved for depictions of Satan. Seldom has evil been conveyed musically with such restrained relish." __________ "... Barron’s muscular bass-baritone and flair for dynamic phrasing..." – Opera News Der Freischütz – "Joseph Barron’s muscular bass-baritone and flair for dynamic phrasing made him a commanding Kaspar." __________ "... Barron hit the high staccato notes…with grace and strength..." – Washington Classical Review Der Freischütz – "Bass-baritone Joseph Barron made a snarling Kaspar, the doomed hunter who hopes to wiggle out of his own deal with the Devil by putting Max in his place. In his first aria, Barron hit the high staccato notes that punctuate the piece with grace and strength." __________ "... Joseph Barron was an audience favorite..." – Opera News Don Giovanni – “As Leporello, bass-baritone Joseph Barron was an audience favorite, offering a portrayal as humorous as it was richly sung. It is a shame that his aria “Ah pietà signori miei” was omitted.” __________ "... one of the production’s many high points..." – New Orleans Times-Picayune Don Giovanni – “Bass-baritone Joseph Barron gives Leporello a broadly physical performance that is so well acted comically that we nearly overlook his potently sonorous voice. His handling of the famous "Catalogue Aria," in which he lists his employer's many sexual conquests (2,065, if I added it all up correctly), was one of the production’s many high points.” __________ "... immaculate verbal clarity and vocal quality..." – Opera News Peter Grimes – "Joseph Barron's Swallow also stood out for immaculate verbal clarity and vocal quality and steadiness." __________ "... stentorian tones and clear diction..." – Opera Today Peter Grimes – “Bass-baritone Joseph Barron launched the evening with stentorian tones and clear diction as the lawyer Swallow.” __________ "... Barron lent his striking, buzzy vocals..." – Post-Gazette.com Dark Sisters – "Bass-baritone Joseph Barron lent his striking, buzzy vocals to the double role of the Prophet and the television anchor, King. He demonstrated a full, dark vibrato . . . " __________ "... Joseph Barron was formidable as the Prophet..." – Triblive.com Dark Sisters – "Joseph Barron was formidable as the Prophet, singing with impressive legato when presenting a vision. Although we see him hugging his wives, and speaking of family love, the Prophet is an opaque character." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

View artist profile - ACTOR MEDIA ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM IMDB CURTIS BANNISTER ACTOR REPRESENTATIVES THEATRE Aaron Sanko CLASSICAL & CONCERT Adrienne Boris FILM/TV Christopher D. Silveri

View artists profile - LIBRETTIST DISCOVERY HAYMARKET INSTAGRAM ALEX HIGGIN-HOUSER LIBRETTIST BIOGRAPHY Alex Higgin-Houser is a lyricist, playwright, and theatre educator. As founding artistic director of Underscore Theatre, Alex developed new musicals in Chicago from 2011 to 2018, where he also co-founded the Chicago Musical Theatre festival. His piece Haymarket (mus: David Kornfeld) won Chicago’s 2019 Joseph Jefferson award for best new musical, and is being workshopped in 2026 at Oberlin College. In 2019, Alex assisted composer William Finn as he completed his final song cycle. Alex’s piece Discovery (mus: Dan Gibson) is under development with Drama Club Productions. His musical Adventurers (mus: Lucy O’Brien), a first-of-its-kind DnD musical wherein dice rolls influence the story, was workshopped in 2024 at Whitman College. Alex has worked with students at Oberlin, Whitman, Elon, NYU Tisch, and Carleton College. He resides in Ohio with his partner Dr. Francesca Chubb-Confer and their son August. FULL PRESS KIT LATEST NEWS REPRESENTATIVES Aaron Sanko CEO & Partner CRITICAL ACCLAIM "Kornfield and Higgin-Houser...trust their audiences..." – Chicago Sun Times Haymarket – "One of the sneakiest strengths of 'Haymarket,' a new folk musical from composer David Kornfeld and writer Alex Higgin-Houser, is that it knows to keep current events out of it. While the play contains numerous parallels to the nation’s current political strife, it makes sure the two lines never converge. The parallels stay parallel...Kornfield and Higgin-Houser...trust their audiences to figure it out." __________ "...a skillfully shaped book and lyrics by Alex Higgen-Houser..." – Chicago Sun Times Haymarket – "With a skillfully shaped book and lyrics by Alex Higgen-Houser, and soaring music by David Kornfeld that captures a sense of the story’s 19th century American roots, but is fused with just enough of a modern beat, this bold, ambitious, eerily timely and fervently performed show chronicles how the mass labor demonstration held at Chicago’s Haymarket Square (at Desplaines and Randolph Streets) on May 4, 1886 was undermined by a bombing and subsequent gunfire." __________ “….very intelligent lyrics..." – WDCB The Dueling Critics Haymarket – “It's really a rich and wonderful musical….[with] very intelligent lyrics.”

View artists profile - TENOR ARTIST WEBSITE YOUTUBE JONNY KAUFMAN TENOR BIOGRAPHY Tenor Jonny Kaufman possesses a voice of entrancing power, beauty, and finesse, which he employs with considerable technique and musicianship. In their review of Kaufman’s portrayal of Pinkerton in Madama Butterfly , BroadwayWorld makes it clear why Kaufman is quickly ascending the ranks as one of the greatest tenors of his generation: “…Kaufman, as Pinkerton, has a voice so grand — even heroic — that there are many times when, lost in the glory of that voice, we quite forget what a cad the Lieutenant is. Superb!” Last season, Mr. Kaufman made his role début as Samson in Samson et Dalila with St. Petersburg Opera, which he also covered for New Orleans Opera. He returned to Opera Carolina to sing Don José in Carmen , and he joined Fort Worth Symphony to sing the Steersman and cover Erik in Der fliegende Holländer. He also sang Canio in Pagliacci with Union Avenue Opera and joined North Carolina Opera to cover the title role in Ernani . In concert, he sang Obadiah in Elijah with Charlotte Master Chorale, and he joined The Choral Arts Society of Washington for Beethoven’s Ninth Symphony . This season, Kaufman sings the title role in Faust with Opera Western Reserve, he returns to St. Petersburg Opera to reprise Rodolfo in La bohème , and he brings his lauded Don José to Carmen productions with Charleston Opera Theater and San Diego Opera. He also joins the Firelands Symphony in concert. READ MORE Recently, Kaufman returned to Opera Carolina for their productions of Cavalleria rusticana and Madama Butterfly as Turiddu and Pinkerton, respectively, and he sang Don José in Opera Western Reserve’s Carmen , following his house début as Rodolfo in La bohèm e. He also sang Rodolfo with Opera Grand Rapids and the Northern Lights Music Festival, as well as Cavaradossi in Tosca with Opera Wilmington, which he also covered with Opera Carolina. Kaufman made his house début at New Orleans Opera as Pinkerton in Madama Butterfly, and he returned to Winter Opera St. Louis to sing Macduff in Macbeth . He also joined the Cleveland Pops and Western Piedmont Symphony for concerts of lighter fare and Western Piedmont Symphony and Aiken Symphony Orchestra for festive holiday concerts. Kaufman returned to Opera Wilmington for Viva Italia! as part of their summer concert series Under the Stars ; he joined the company of Douglas Tappin’s I Dream in a new co-production between Opera Carolina and Charlottesville Opera; and he returned to Opera Carolina for their Bella Notte and Opera Hits concerts. He made débuts with Winter Opera St. Louis in both their fall gala and as Pinkerton in Madama Butterfly ; with the Aiken Symphony Orchestra in their romantic concert Amore! Famous Love Songs from the World of Opera , in concert with River City Opera, and with Charlotte Symphony Orchestra as part of their Opera Masterpieces concert. Previous engagements included débuts with Opera Delaware in their Fall Jukebox concert and with Toledo Opera and Opera Carolina as Malcolm in Macbeth . Additionally, Kaufman made appearances and performed with Opera Experience Southeast as Pinkerton in Madama Butterfly ; as Rodolfo in La bohème with Opera Wilmington, Central Piedmont Opera Theater, and Little Opera Company of Charlotte; Alfred in Die Fledermaus with Little Opera Company of Charlotte; Turiddu in Cavalleria rusticana with Repertory Opera Theater of Washington D.C.; as Tamino in Die Zauberflöte with State Opera Varna, marking his international début; and as Rinuccio in Gianni Schicchi with Opera Lancaster. Kaufman was a finalist in both the Giulio Gari and The Jensen Foundation competitions, as well as being named the Winner of the Jennifer White Memorial Award in Shreveport Opera’s Mary Jacobs Smith Singer of the Year competition. He was the winner of the Second-Place prize in the SAS Performing Arts Company Vocal competition, winner in NYIOP’s first-ever Anonymous Audition Project, and a finalist in the NOA Carolyn Bailey and Dominick Argento Vocal Competition. Current as of September 1, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General CRITICAL ACCLAIM “... Kaufman was a true find…” – Opera News Madama Butterfly – “Tenor [Jonny] Kaufman was a true find. Kaufman displayed a fine technique along with a bright and gleaming sound – perfectly suited to Puccini’s vocal writing. Kaufman effectively conveyed Pinkerton’s bravado during Act I, and his tragic remorse at the end." __________ "...reminiscent of Luciano Pavarotti.” – St. Louis Post-Dispatch Madama Butterfly – “Kaufman, with his girth and great skill at long-held high notes, is reminiscent of Luciano Pavarotti.” __________ "...Kaufman was a Malcolm whose singing was worthy of the crown won by his valor.” – Voix-des-Arts Macbeth – “…Opera Carolina had in [Jonny] Kaufman a Malcolm who was anything but a conventional secondo uomo. Kaufman’s lustrous timbre gave Malcolm’s lines in the Act One sextet and finale welcome muscle, and his vocalism in the scene with Macduff in Act Four was fittingly heroic. Ascents above the stave were handled with assurance that echoed the character’s rightful authority. Regaining the power usurped by Macbeth, Kaufman was a Malcolm whose singing was worthy of the crown won by his valor.” __________ “…[sung] beautifully and provide[d] solid characterization.” – HEC Media Madama Butterfly – “…[sung] beautifully and provide[d] solid characterization...Kaufman embodies Pinkerton’s brashness in the first act and his remorse in the third.” __________ "A clear, true tenor voice." – LancasterOnline The Light in the Piazza – "As for [Jonny] Kaufman, he was endearing as the love-struck, unsophisticated Fabrizio singing out his feelings in a clear, true tenor voice." __________ “Kaufman’s voice encompassed me and reached my core,..." – Writing Dailey Found in Translation: A Dramatic Opera Experience – “Kaufman’s voice encompassed me and reached my core, where inspiration and creativity thrive. The sound beckoned me to act, feel, and follow my own passions with deepened commitment.”

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View artist profile - ACTOR ARTIST WEBSITE INSTAGRAM ANALISA LEAMING ACTOR BIOGRAPHY Broadway star Analisa Leaming, praised as having “a graceful, charming stage presence…” (Kansas City Star), is known for her outstanding performances, her captivating singing voice, and her versatility in Opera, musical theatre, and on concert stages. After a successful run as Principal Rosalie Mullins in Broadway’s School of Rock , she hit the road as Irene Molloy in the national tour of the 2017 Tony Award-winning revival of Hello, Dolly ! Ms. Leaming is now launching her touring customizable workshop “A Balancing Act” to aspiring artists from middle school to college students. What began as a podcast designed to uplift fellow actors has blossomed into an interactive class where Leaming shares her passion for negotiating the ups and downs of showbiz, and how to be wildly successful and happy while doing it. READ MORE In 2015, Analisa made her Broadway début as Anita in the revival of On the Twentieth Century alongside Kristin Chenoweth and Peter Gallagher. She went on to make her Lincoln Center début taking over the role of Anna in the Broadway revival of The King and I and performed in the 2017 revival of Hello, Dolly! as Irene Molloy for select performances alongside Bette Midler. On concert stages, Ms. Leaming was seen in Step into the Light at the Sheen Center and Musicals in May in Pueblo, CO. Off-Broadway credits include: Angharad in A Time for Singing with The York Theatre Company, Millicent Henderson in Rodger and Hammerstein’s Pipe Dream and Gossip Girl in Where’s Charley? at NY City Center Encores! In addition to Broadway and Off-Broadway productions, Ms. Leaming led companies all over the U.S. portraying many different roles including: Amalia in She Loves Me at the Infinity Theatre, Mabel in Pirates! at the MUNY, Marian Paroo in The Music Man at the Geva Theatre, Maria in The Sound of Music, the title role in Mary Poppins at Kansas City, Milly in Seven Brides for Seven Brothers at the Ogunquit Playhouse, Irene Molloy in Hello, Dolly! at North Shore Music Theatre, and Sarah Jane in the world première of Arlington at the Magic Theatre. She also performed in several tours, including the role of Sister Sophia and cover for Maria on the international tour of The Sound of Music and the role of Grace Farrell in the National Tour of Annie. Other accomplishments include her international concert début on a three-city tour in Germany with the Kurt Weill Festival alongside the Deutsche Staatsphilharmonie Rheinland-Pfalz and a semi-staged production of Weill’s Down in the Valley performing the role of Jennie. While attending the prestigious Eastman School of Music, she starred in L’etoile, and was featured in two Sondheim musicals: Assassins and Company. She was also one of the youngest winners of the Lotte Lenya Competition for Singers. Current as of August 21, 2023 CRITICAL ACCLAIM "...a need for connection that beams out of her pores...” – The Mercury News Arlington – “Leaming is so captivating…her performance is both fresh and carefully wrought with such translucent vulnerability, a need for connection that beams out of her pores.” __________ "...steals the show...” – The Boston Globe Ribbons Down My Back – “Analisa Leaming is outstanding and her rendition of “Ribbons Down My Back” nearly steals the show” __________ "...a graceful, charming stage presence... – Kansas City Star Mary Poppins – “Leaming has a graceful, charming stage presence and is convincing in her oh-so-clever depiction of Mary Poppins” __________ "...is top-to-toe magnetic in the sung-through role of Sara Jane..." – San Francisco Chronicle Arlington – “Analisa Leaming…is top-to-toe magnetic in the sung-through role of Sara Jane. She sings sweetly about her love for her husband and comically about her mother’s many plastic surgeries and gives us operatic intensity when nightmares take over the tranquillity she is trying to maintain.” __________ "...a show-stopper...” – The Hub Review Ribbons Down My Back – “There was lovely singing on tap from Analisa Leaming, who made the little-known “Ribbons Down My Back” practically a show-stopper.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES PRIMARY Aaron Sanko CONCERT Adrienne Boris