Learn more about the team at UIA Talent Agency. WHO WE ARE ADVOCATES – CATALYSTS - INNOVATORS - CONNECTORS WHAT WE DO Where connection and art meet. Established in 2011 by President Vanessa Uzan, UIA Talent Agency is an entertainment enterprise with an industry-leading reputation of excellence in representing a multifaceted and diverse roster of artists, spanning classical singers for opera and concert, actors for stage and screen, directors, conductors, composers, librettists, and playwrights. In 2014, UIA expanded into the theatre, film, and television sectors, culminating in its rebranding as UIA Talent Agency in 2019. This pivotal transformation also saw the launch of a literary division, representing composers and librettists for opera as well as writers and producers across stage, screen, and television, which was spearheaded by Aaron Sanko, current CEO and head of the Theatre, Film, TV (FTT) and Literary Divisions. In 2023, the merger with ADA Artist Management further strengthened UIA's position, uniting top-tier music and literary representatives. ADA, founded in 2004, distinguished itself as an artist-led and artist-focused firm, committed to nurturing all performers from emerging to internationally acclaimed, spanning multiple genres and disciplines. The following year, in 2024, UIA expanded further by partnering with industry veteran Christopher D. Silveri, who joined as Vice President & Partner in the Film, Television and Theatre division. After a decade in casting and representation, he founded Center Stage Management in 2017, serving clients on both coasts with a specialty in Film and Television. These strategic alliances have elevated UIA Talent Agency into a premier, all-encompassing force in entertainment, offering cross-genre representation and unmatched opportunities for dynamic artists. UIA Talent Agency is revered for their personalized attention to artists, proactive solutions for producers, and a commitment to nurturing the next generation of BIPOC industry leaders - underscored by our fellowship for aspiring arts administrators. We transcend traditional industry boundaries, providing a unique, one-stop platform for talents who refuse to be confined by verticals. others think in verticals WE THINK IN PLAID. Latest News VANESSA UZAN BIOGRAPHY FOUNDER AARON SANKO BIOGRAPHY CEO & PARTNER | THEATRE, FILM, TV & LITERARY ANA DE ARCHULETA BIOGRAPHY STRATEGIC ADVISOR & PARTNER ELLIOT BROWN BIOGRAPHY AGENT LISA BREMER BIOGRAPHY OPERATIONS AND FINANCE MANAGER ADAM YOHANAN BIOGRAPHY GENERAL COUNSEL PROUD MEMBER OF FRANCHISED BY

View artist profile - SOPRANO ARTIST WEBSITE INSTAGRAM FACEBOOK VÉRONIQUE FILLOUX SOPRANO BIOGRAPHY Praised by Opera News for her “expressive, lovingly shaded soprano,” “dazzling coloratura and lithe stage presence [used] to piquant comedic effect,” French American soprano Véronique Filloux has enjoyed a rich and varied 2025-2026 season, including her company début as Constance in Dialogues des Carmélites with New Orleans Opera, the titular role of La Belle in La Belle et la Bête at Fort Worth Opera, and her company début with Haymarket Opera in collaboration with the Newberry Consort as Proserpina in Peri’s rarely performed Euridice. She also returns to Eugene Opera as Mabel in The Pirates of Penzance and to Alabama Symphony Orchestra for Carmina Burana , in collaboration with The Alabama Ballet. This season, Veronique also traveled to compete in the live round of the prestigious Tenor Viñas competition in Barcelona, Spain. In summer 2025, Véronique joined The Atlanta Opera to cover the title role in Handel’s Semele , performing the entire role at orchestra dress rehearsal. A favorite at Central City Opera, Véronique also returned to “the mountain” as Lady Larken in Once Upon a Mattress and as a featured soprano in the company’s popular Opera Concert. Thus far, Véronique’s 2026-27 season includes a return to Arizona Opera debut with LaJolla Symphony Orchestra & Chorus. Véronique‘s 2024-2025 season was anchored by her wildly successful role début as Marie in La fille du régiment at Livermore Valley Opera for which San Jose Mercury hailed her a “star soprano.” The Independent singled her out for her “top notch acting skills” while Opera Tattler applauded her “beautiful, resonant sound [with] a lot of sass.” She also made role and company débuts as Gilda in Rigoletto at Eugene Opera and Gretel in Hansel & Gretel at Opera Montana. Additionally, she returned to Central City Opera to sing Greta Fiorentino in Street Scene and took on the leading lady role of Rosa in Pacific Opera Project’s Don Bucefalo . READ MORE In the 2023-2024 season, Véronique made débuts with Berkshire Opera Festival as Musetta in La bohème , Livermore Valley Opera as Curley's Wife in Of Mice and Men , Alabama Symphony Orchestra in Handel's Messiah , and Annapolis Opera as Adina in L'elisir d'amore . She also returned to Arizona Opera as both Rosina in Il barbiere di Siviglia and Zerlina in Don Giovanni and joined The Metropolitan Opera as Helen in the workshop of The Amazing Adventures of Kavalier and Clay . Véronique spent summer 2023 as a Filene Artist at Wolf Trap Opera, singing Iris in Semele and performing two recitals. In previous seasons, Véronique was a resident artist with Arizona Opera, making several exciting role débuts including Zerbinetta in Ariadne auf Naxos , Liesl in The Sound of Music , Pamina in Die Zauberflöte , and Agatha in the workshop of Frankenstein . She also joined Washington Concert Opera as Miss Ellen in Lakmé and Pacific Opera Project as Martesia in the US premiere of Vivaldi's Ercole su'l Termodonte . In previous seasons, Véronique joined Des Moines Metro Opera for Rameau's Platée , singing L'Amour and covering La Folie, and A Midsummer Night's Dream , singing Peaseblossom and covering Tytania . She joined Pittsburgh Opera as a Resident Artist, where she sang Despina in Così fan tutte , Chan Parker in Charlie Parker’s Yardbird , Papagena in The Magic Flute , The Girl/Luna in The Rose Elf (staged premiere), Frasquita in Carmen , and the title role in Handel’s Semele . On the competition circuit, Véronique has won First Prizes in the 2025 Musical Merit Foundation Auditions, the 2024 Dorothy Lincoln-Smith National Finals, the 2022 Zenith Opera Competition, the 2023 Dorothy Lincoln-Smith NSAL Competition of Arizona, the 2022 Mildred Miller Vocal Competition, and the 2021 Camille Coloratura Awards. She is a two-time Metropolitan Opera Laffont Competition District Winner (2020 and 2023). She is proud to have earned prizes from organizations including the Orpheus Competition, Annapolis Opera Competition, Young Patronesses of the Opera/Florida Grand Opera Competition, Arizona Commission on the Arts, and the Musicians Club of Women Competition. Véronique has enjoyed several performances with Opera Lafayette, with whom she made her Kennedy Center début as Tigrane in Radamisto . In recent years, she reprised soloist roles in Carmina Burana , Jauchzet Gott in allen Landen , Poulenc’s Gloria , and Handel’s Messiah with organizations including the Champaign-Urbana Symphony Orchestra, Alabama Symphony Orchestra, and Bach Collegium San Diego, and she has enjoyed frequent collaborations with Music of the Baroque as soprano soloist in Handel’s Dixit Dominus and as Pales in Bach’s Hunt Cantata . In her previous two summers with Central City Opera, Véronique sang Papagena in Die Zauberflöte and the title role in Debussy’s La damoiselle élue , winning both the company’s Young Artist Award and Apprentice Artist Award. Véronique earned her MM from the University of Maryland’s Opera Studio and her BM from Northwestern University. She is a dual citizen of France and the United States. Current as of April 6, 2026 CRITICAL ACCLAIM “...gorgeously clear vocal quality...” - Onstage TX La belle et la bȇte - "Soprano Véronique Filloux provided a gorgeously clear vocal quality as Belle." __________ “...compelling…Filloux’s softened, ensconcing soprano sounded profoundly moved...” - The Chicago Tribune Euridice - “Later on, bass-baritone Jonathan Woody and soprano Véronique Filloux cut a compelling pair as Plutone and Proserpina, who Orfeo confronts on his trip to the underworld. Filloux’s softened, ensconcing soprano sounded profoundly moved by Orfeo’s plea - a striking sonic and theatrical contrast to Woody, who snarled at the young lover over growling sackbuts.” __________ “Wonderful ” – Eugene Scene Rigoletto – "Instead, focus on the glorious music from Verdi’s pen as well as first-rate voices and acting: there’s Rigoletto’s daughter Gilda (the wonderful soprano Véronique Filloux)..." __________ "...dazzling coloratura and lithe stage presence..." – Opera News Semele – As the vainglorious title character, Véronique Filloux looked smashing in her flowing negligées... Her best moment was the showstopping "Myself I shall adore," in which she used her dazzling coloratura and lithe stage presence to piquant comedic effect. __________ “...Filloux’s expressiveness and top-notch acting skills…” - The Independent La fille du régiment - "The ebullience is refreshing and spirited due in large part to a stellar cast led by the young French-American coloratura soprano, Véronique Filloux, who plays the charming heroine Marie, found on a battlefield and raised by a French rifle regiment…Filloux’s expressiveness and top-notch acting skills conveyed the meaning of her words through song, joyfulness, patriotism, heartbreak, humor and love." | "In the physically active role, Filloux barrels around the stage with a boyish energy unfettered by gender norms." __________ “Soprano Véronique Filloux was completely charming…” - Opera Tattler La fille du régiment - "Soprano Véronique Filloux was completely charming in the title role. Her Marie has a lot of sass and a beautiful resonant sound. Her French diction was extremely clear as well." __________ ”...stupendously sung…” - Iron Tongue Reviews La fille du régiment - "And Véronique Filloux, singing Marie, was a real find: she has a lovely, sweet voice, she's a great comic actor, and her arias were stupendously sung. She has range, she has volume, she has a gorgeous legato, she has a terrific trill. How I would love to see her again!" __________ "...crowned these ensembles with incisive high notes..." – Washington Classical Review Lakmé – As usual, Antony Walker assembled an extraordinary cast down into the supporting roles. The colonial quintet of British expats sang with sparkle and rhythmic unity… The Miss Ellen of soprano Véronique Filloux, Gérald’s fiancée, crowned these ensembles with incisive high notes. __________ "...both wonderfully sung and wonderfully comic..." – Berkshire Edge La bohème – The entire company is wonderful, and, moment to moment, the opera captured its audience and made hundreds of people thrill to the best of Puccini. Véronique Filloux was a delightful Musetta, and her Act Two song and “dance” was both wonderfully sung and wonderfully comic. __________ "...with precision and a modicum of pathos..." – San Francisco Chronicle Of Mice and Men – There is just the one female presence in this otherwise all-male undertaking, the Eve-like temptress known only as Curley’s Wife. We can pin the sexual politics on Steinbeck, while noting that Floyd gives this lonesome, unhappy woman a voice of her own, and that soprano Véronique Filloux dispatched her assignment with precision and a modicum of pathos. __________ “...the wonderful soprano…” - Eugene Scene Rigoletto - "Instead, focus on the glorious music from Verdi’s pen as well as first-rate voices and acting: there’s Rigoletto’s daughter Gilda (the wonderful soprano Véronique Filloux)..." __________ ”...able singer-comedians…” - L.A. Times Don Bucefalo - "This obscure and hilariously outrageous takeoff on the genre of Italian opera buffa, written in 1846, turned out to be the hit of the weekend." | "Contreras [as Don Bucefalo] was surrounded by able singer-comedians, among them Véronique Filloux.... all of whom excellently mastered roles they likely will never have an opportunity to sing again." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

View artist profile - BARITONE ARTIST WEBSITE INSTAGRAM YOUTUBE JOEL BALZUN BARITONE BIOGRAPHY Praised for his "voluminous sound" and “imposing, ringing baritone,” Canadian baritone and composer Joel Balzun is establishing himself as a dynamic force both on and off the stage. A recent grantee of the Olga Forrai Foundation, he has also been awarded prizes in the Wagner Society of New York Singers Competition and the Fulham Opera Robert Presley Memorial Verdi Prize. This season’s highlights include role débuts as Sharpless in Madama Butterfly and Tonio in Pagliacci with Pacific Opera Project, house debuts with Amarillo Opera ( Pagliacci ) , Pittsburgh Opera ( Fellow Travelers ) and Wichita Grand Opera ( Ein deutsches Requiem ) as well as a world premiere by Dale Trumbore with support from the Barlow Endowment. He also returns to Opera Laguna for Messiah and San Luis Obispo Master Chorale for works of Beach, Dvořák, and Mozart. Recent performance highlights include his house debut at Chautauqua Opera as Marcello in La bohème and the title role in Missy Mazzoli and Royce Vavrek’s Lincoln in the Bardo , which he also previewed for the Metropolitan Opera. Other recent performance highlights include notable debuts at Los Angeles Opera ( Il barbiere di Siviglia ) and Opera Las Vegas (Schaunard in La bohème ). His role and house debut as Escamillo in Union Avenue Opera’s Carmen was hailed as “swaggering, supremely self-confident” with a “thunderous” and “booming” voice. With performances spanning Carnegie Hall to the Kennedy Center, Mr. Balzun’s diverse repertoire includes the title roles in Don Giovanni , Gianni Schicchi , Dead Man Walking , and Telemann’s Don Quichotte at Camacho’s Wedding , as well as Germont in La traviata , the Four Villains in Les contes d'Hoffmann , Yeletskiy and Tomskiy in Pikovaya Dama , Albert in Werther , Belcore in L'elisir d'amore , Dr. Malatesta in Don Pasquale , and Valentin in Faust . Other notable roles include Riolobo in Florencia en el Amazonas , Golaud in Pelléas et Mélisande , Hunter in Rusalka , Sid in Albert Herring , John Brooke in Little Women , and Marquis de la Force in Dialogues of the Carmelites . A passionate interpreter of Richard Strauss, he has excelled as Mandryka in Arabella and Jupiter in Die Liebe der Danae . In past seasons he has appeared with Calgary Concert Opera, Cincinnati Song Initiative, Claremont Symphony Orchestra, Opera Buffs Inc., Opera Santa Barbara, Pittsburgh Festival Opera, Prima Voce Emerging Artist Recital Series, and Rio Hondo Symphony Orchestra, in addition to giving recitals across North America. An avid chamber musician, he has enjoyed collaborations with instrumentalists from the Baltimore, Cincinnati, Minnesota, San Bernardino, and Vancouver orchestras, as well as faculty members of the nation’s finest conservatories. Read More On the concert stage, Mr. Balzun has performed Copland's Old American Songs , Fauré's Requiem , Haydn's The Creation , Mahler's Lieder eines fahrenden Gesellen , Mozart’s Mass in C Minor and Per questa bella mano , as well as Vaughan Williams’ Dona nobis pacem and Five Mystical Songs . His acclaimed performance of Bach's Johannes-Passion with the Rochester Bach Festival was broadcast multiple times across the U.S. A decorated competitor, Mr. Balzun has earned prizes from the Metropolitan Opera Laffont Competition (Los Angeles District & Western Region), Pasadena Vocal Competition, Lyndon Woodside Oratorio-Solo Competition, Houston Saengerbund Vocal Competition, Orpheus National Vocal Competition, NATS Artist Awards, and more. He has also been a finalist in the Rochester International Voice Competition, Orchestre symphonique de Montréal Concours, Premiere Opera Foundation International Vocal Competition, and Vincerò World Singing Competition. A champion of contemporary music, he received critical acclaim for his portrayal of Joseph de Rocher in Dead Man Walking with Miami Music Festival, working closely with Jake Heggie on the role and excerpts from Three Decembers . He recently originated the role of Ivan Brisilov in the world premiere of Arkhipov by Stephanie Fleischmann and Peter Knell, conducted by Daniela Candillari. Other modern works include Rochberg’s String Quartet No. 7 and Maxwell Davies’ Eight Songs for a Mad King . His professional debut in 2011 was in the world premiere of El canguro by Peter Michael von der Nahmer. In 2021, he launched Black Dog Commission, a new initiative for art song repertoire addressing mental illness, premiering a new work by Tom Cipullo with plans to premiere another work by Dale Trumbore. Also an accomplished composer, Mr. Balzun’s “haunting and beautiful” music has received international recognition, earning prizes from the SOCAN Foundation Awards for Young Composers, Dallas Winds’ Call for Fanfares, and the Classical Marimba League International Composition Competition. A finalist for the ASCAP Morton Gould Young Composers Awards, he also won the Grand Prize and Young Composers Prize in the National Broadcast Orchestra’s Galaxie Rising Star Composers’ Competition. His music has been performed worldwide, including by Alberta Winds, Calgary Philharmonic Orchestra, CCM Wind Orchestra, Dallas Winds, and La Orquestra Vientos de Costa Rica, and broadcast on CBC Radio 2 and Espace Musique. His works are published by C. Alan Publications, Lovebird Music, and NewMusicShelf. Mr. Balzun holds a master’s degree in Vocal Performance and Literature from the Eastman School of Music, where he studied with Jan Opalach and Benton Hess. He was an apprentice artist at Santa Fe Opera, Chautauqua Opera and Opera Saratoga and a fellowship recipient at the Ravinia Steans Music Institute and Tanglewood Music Center. He has benefited from the mentorship of Reid Bruton, Jane Eaglen, William Lock, Anthony Manoli, Michelle Minke, Bob Mollicone, Judith Natalucci, and Sanford Sylvan. Current as of November 12, 2025 CRITICAL ACCLAIM “... balancing baritone weight with unsettling candor…” – Stage and Cinema Pagliacci – “Joel Balzun’s Tonio suggested both menace and wounded pride, his opening Prologue balancing baritone weight with unsettling candor.” __________ “...wonderful vocal power…” – Broadway World Carmen – “Joel Balzun sings this rock-star bull-fighter, and he well deserves the praises of the crowd. His wonderful vocal power makes a triumph of the “Toreador Song”.” __________ “...a standout performance…” – The Santa Barbara Independent La Traviata – “…Alfredo’s father Giorgio Germont, in a standout performance by baritone Joel Balzun.” __________ “...showing style, agility, musical and linguistic precision…” – Opera News Don Quichotte – “Due to indisposition, the scheduled Quichotte, [redacted], vividly mimed his part while baritone Joel Balzun doubled his duties as a shepherd with an impressive on-score performance showing style, agility, musical and linguistic precision. …Balzun…showed off the voice best trained and adapted for Baroque music.” __________ “...at this moment, the stage was his…” – Opera Today L’enfant et les sortilèges – “Joel Balzun regaled us with one of the best star turns of the day as Ravel’s Clock. Wedding uninhibited, goofy stage business to his ringing, imposing baritone, Mr. Balzun served notice that at this moment, the stage was his. Earlier, he contributed a firmly presented take on Puccini’s Betto.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

View artist profile - BASS ARTIST WEBSITE FACEBOOK INSTAGRAM TWITTER KEVIN THOMPSON BASS BIOGRAPHY Praised by The New York Times as a “stentorian bass,” Kevin Thompson “possesses a voice with extraordinary range, depth, color combined with a commanding stage presence… a mountain of a voice, with resonance from the Escorial of Philip II to the throne of Boris Godunov, and the majestic court of Sarastro...” ( San Francisco Classical Voice ). Last season, Mr. Thompson joined Florentine Opera as the Bonze in Madama Butterfly , Washington Opera Society as the Commendatore in Don Giovanni , Opera Southwest for Verdi’s Requiem , Eureka Symphony for Messiah , and Bard Music Festival for Martinů's Julietta . This season, he returns to Washington National Opera as Antonio in Le nozze di Figaro , he joins Tulsa Opera as the Sergeant of Police in The Pirates of Penzance , and he brings his signature Bonze to Fort Worth Opera for their Madama Butterfly . READ MORE In recent seasons, the acclaimed bass performed as Il Commendatore in Don Giovanni for Opera Colorado, the Duke of Verona in Roméo et Juliette for Dallas Opera, Osmin in Die Entführung aus dem Serail for Opera Grand Rapids, the King/Baobab/Hunter in The Little Prince with Utah Opera, Timur in Turandot with Fargo Moorhead Opera, and on the Mobile Symphony’s annual Christmas concert. He also joined The Atlanta Opera to sing Church Jenkins in a workshop of Forsyth County is Flooding as part of their new works festival, and he sang Father Truelove in The Rake’s Progress with Lakes Area Music Festival. Mr. Thompson made house débuts with Washington National Opera as both Der Pfleger des Orest and Ein alter Diener in Elektra , with Fort Worth Opera as Il Re in Aida , and with Utah Opera as Sparafucile in Rigoletto . In concert, Mr. Thompson returned to Opera Omaha for an Opera Outdoors Concert with scenes as the title role in Boito’s Mefistofele ; he sang with Roanoke Opera for their Opera Gems Gala Concert; he sang Verdi’s Requiem with Eureka Symphony; and with Odyssey Opera, he performed Rachmaninoff’s Troika : The Old Gyspy in Aleko , Ivan in The Miserly Knight , and The Ghost of Virgil in Francesca da Rimini . Thompson also joined Bard Music Festival for two rarely heard works, singing Canterbury in Saint-Saëns’ Henry VIII and Pistol in Vaughan Williams’ Sir John in Love . He performed Il Commendatore in Don Giovanni with San Antonio Opera; the Old Hebrew in Samson et Dalila with Bob Jones Opera; Sparafucile in Rigoletto with Nashville Opera; the First Nazarene in Salome with Tulsa Opera; Oroveso in Norma with Festival Opera; and he was seen in the world premiere of Southern Crossings by Zaid Jabri at Barnard College in New York City. Concert engagements included Verdi’s Requiem with Johnson City Symphony Orchestra, Beethoven’s Symphony No. 9 with The Florida Orchestra, and performances with Roanoke Opera. In the pandemic season of 2020/21, Mr. Thompson made his début in Bulgaria with State Opera Ruse singing the role of Polonius in the world premiere of Hamlet by Joseph Summer. In the same season, Thompson was seen in Rigoletto twice: as Sparafucile with Shreveport Opera and as Monterone with Tulsa Opera. Thompson also joined Tulsa Opera for their Greenwood Overcomes concert, in addition to engagements with Pocono Mountains Music Festival and Opera Omaha. Mr. Thompson has performed under the baton of many an esteemed conductor in opera houses and concert venues throughout the world, including Austria, Bulgaria, China, France, Germany, Italy, Poland, Russia, Spain, South America, Switzerland, and the United States. Thompson has made débuts with New York City Opera, Santa Fe Opera, New Orleans Opera, Tulsa Opera, Opera Carolina, Bard Opera, National Philharmonic, The Florida Orchestra, Opera Santa Barbara, Odyssey Opera, Hannover Staatsoper, Fundación Teatro Nacional Sucre in Ecuador, Teatro Verdi Trieste, Hong Kong Opera, Teatro Regio di Parma, State Opera Ruse, Theater Kiel, the Gasteig in Munich, and the Wexford Opera. Mr. Thompson’s previous roles include: Ramfis and Il Re ( Aida ); Osmin ( Die Entführung aus dem Serail ) ; Sarastro ( Die Zauberflöte ) ; Mephistophélès ( Faust ); Oroveso ( Norma ) ; Sparafucile and Monterone ( Rigoletto ); Grand Inquisitor ( Don Carlos ) ; Banco ( Macbeth ) ; Lodovico ( Otello ); Il Commendatore ( Don Giovanni ) ; Raimondo ( Lucia di Lammermoor ) ; Don Basilio ( Il barbiere di Siviglia ) ; The Old Gypsy ( Aleko ) ; Colline ( La bohème ) ; Judge Turpin ( Sweeney Todd ) ; Ned ( Treemonisha ) ; El Capitán ( Florencia en el Amazonas ) ; Hans Schwartz ( Die Meistersinger von Nürnberg ); and Stefano Colonna ( Rienzi ) . On the concert stage, Thompson’s engagements have included Verdi’s Requiem ; Mozart’s Requiem ; Beethoven’s Symphony No. 9 and Missa Solemnis ; Dvořák’s Stabat Mater ; Haydn's The Creation and Lord Nelson Mass ; and Stravinsky’s Les Noces . Mr. Thompson was born in Washington, D.C. He is an alumnus of The Juilliard School in New York, San Francisco Opera’s prestigious Merola program, and the Santa Fe Opera program. Recordings include Verdi’s Requiem with Sacramento Choral Society and Orchestra, Dessau’s Haggadah shel Pesach with the American Symphony Orchestra, Rice’s Thy will be done with the National Choral Society, Polonius in Joseph Summer’s Hamlet with Navona Records, and King Soliman in Gounod’s La reine de Saba with Odyssey Opera. Current as of July 7, 2025 CRITICAL ACCLAIM "...his rich, powerful bass voice commanded attention, and it filled the hall..." – Utah Arts Review Rigoletto – Kevin Thompson contributed an impressive performance as the hit man Sparafucile. From the moment he introduced himself in the first act, his rich, powerful bass voice commanded attention, and it filled the hall. His clear tone, flawless intonation and seamless melodic lines appeared effortless, as did the menace in his voice as he coolly carried out the murders he was paid to perform." __________ "Thompson's rich bass conveyed the melancholy, the peasant nobility, and the sheer passionate broken-heartedness of the Old Gypsy..." – Classical Voice North Carolina Aleko – "Then the beauty of the chorus trailed away for the vocal highlight of the Opera Carolina premiere, “The Old Gypsy's Tale,” performed by Kevin Thompson in a magnificent Charlotte debut. Thompson's rich bass conveyed the melancholy, the peasant nobility, and the sheer passionate broken-heartedness of the Old Gypsy more richly and beautifully than either the Chandos or the Deutsche Grammophon recordings I've referenced." __________ "Not only is his instrument monstrous in its quality and volume, but it is highly articulate, fearless in his ability to traverse his entire range and colorful." – OperaWire Macbeth – "As Banco, audiences got a chance to marvel at the imposing bass of Kevin Thompson. Not only is his instrument monstrous in its quality and volume, but it is highly articulate, fearless in his ability to traverse his entire range and colorful. The shading in his final scene, the famed aria “Come dal cielo precipita,” had a controlled shimmer that expressed the fear he sensed around him. Contrast this with the brighter colors he managed from the opening duet with Macbeth, doubt and jest creeping into his performance." __________ "Sonorous, though, doesn’t even begin to describe the powerful, capacious and indefatigable singing of bass Kevin Thompson..." – San Francisco Chronicle Die Entführung aus dem Serail – " Sonorous, though, doesn’t even begin to describe the powerful, capacious and indefatigable singing of bass Kevin Thompson the ferocious Klingon responsible for overseeing the prisoner. This is a role renowned for its punishing low notes and big gestures, and Thompson handled it all with terrifying ease." __________ "...it would come as no surprise if the Metropolitan Opera recruited him immediately at the close of the concert." – CS Music Staff Gala Concert – "Another standout performance among the men was operatic bass Kevin Thompson’s performance of McLin’s “Great Day” which captured the performers and the audience. The exceptional richness and penetrating resonance of his voice were so captivating, it would come as no surprise if the Metropolitan Opera recruited him immediately at the close of the concert." __________ "...Kevin Thompson carried a tone that was robust and assured." – Bachtrack Florencia en el Amazonas – “As the Captain, Kevin Thompson carried a tone that was robust and assured” __________ "With his deep rich bass voice and his stature and presence, he was unquestionably the focal point for the entire production. " – Splash Magazine Faust – “Kevin Thompson shone in the role of Méphistophélès. With his deep rich bass voice and his stature and presence, he was unquestionably the focal point for the entire production. In addition to his singing, which was exceptional, Thompson’s physical grace and ability to act and emote enabled him to create a character that was both terrifying and playful – setting the tone for the rest of the cast and providing a welcome hint of lightness to his demonic role.” __________ “Kevin Thompson was an imposing Ramfis, the intolerable priest.” – Los Angeles Times Aida – “Kevin Thompson was an imposing Ramfis, the intolerable priest,” __________ "...displaying a phenomenal range and showed us his dramatic chops..." – Huffington Post Aleko – “Kevin Thompson as the Old Gypsy told his tale well in the beginning of the opera, displaying a phenomenal range and showed us his dramatic chops by being simultaneously sad, angry, disappointed and ultimately resigned to his daughter’s death at the hands of Aleko.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

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

View the roster of UIA Talent Agency - Vocal. Search by type More JULIUS AHN Tenor AUDREY BABCOCK Mezzo-Soprano JOEL BALZUN Baritone CURTIS BANNISTER Tenor JOSEPH BARRON Bass-Baritone ERRIN DUANE BROOKS Tenor LURETTA BYBEE Mezzo-soprano CIERRA BYRD Mezzo-Soprano ALYSON CAMBRIDGE Soprano MONÉT X CHANGE Bass-Baritone JULIAN CLOSE Bass PHILIP COKORINOS Bass-Baritone EDWIN JHAMAAL DAVIS Bass HUNTER ENOCH Bass-Baritone VÉRONIQUE FILLOUX Soprano EMMA GRIMSLEY Soprano FLORA HAWK Soprano GORDON HAWKINS Baritone KATHERINE HENLY Soprano BERNARD HOLCOMB Tenor CRAIG IRVIN Baritone JOSHUA JEREMIAH Baritone CHRISTOPHER JOB Baritone JONNY KAUFMAN Tenor MICHAEL KELLY Baritone VOCAL

Learn more about the team at UIA Talent Agency - Austin Brannan. AUSTIN BRANNAN CONTACT ASSISTANT AGENT Austin Brannan enthusiastically joins UIA Talent Agency having recently obtained their Bachelor of Science from Skidmore College in Theater and English. Austin is an arts administrator passionate about bolstering work that imagines an “otherwise” by centering “othered” voices. Boasting primarily theater-based experience, Austin’s work has led him to locally and nationally renowned organizations such as The Bushwick Starr, Powerhouse Theater, Pittsburgh Civic Light Opera, and Florida Studio Theater where he has excelled in multiple administrative disciplines. Prior to his journey into the realm of arts administration, Austin accumulated significant performance experience, allowing him to understand and empathize with the artist’s point-of-view. Austin is thrilled to be serving as an Assistant Agent at UIA. Moreover, they are inspired by UIA’s roster of multi-hyphenates, and they intend to uplift each artist in their personal endeavors towards an exciting artistic future.

View artist profile - DIRECTOR ARTIST WEBSITE KIMILLE HOWARD DIRECTOR BIOGRAPHY “...masterful direction...” – Splash Magazine Kimille Howard is a New York-based director, deviser, writer, and filmmaker. She’s an Assistant Stage Director at The Metropolitan Opera, Artistic Director of the Lucille Lortel Theatre’s NYC Public High School Playwriting Fellowship, and a founder of the Black Diaspora Theatre Collective. Kimille was awarded Best Director at the 2016 Thespis Festival for It’s All About Lorrie by Joseph Krawczyk (Hudson Theater) which received a commercial run at The American Theater of Actors in 2017. This season is shaping up to be Howard’s most rigorous and exciting year yet, including the workshop of Psyche with Clear Space Theater, the workshop of Kindred with Principe Dynamics, returning to The Passion of Mary Cardwell Dawson with North Carolina Opera, This Little Light of Mine with Kentucky Opera, and assistant directing Die Zauberflöte at The Metropolitan Opera. Last season, Howard directed Treemonisha and led the New Works Collective over multiple periods with the Opera Theatre of St. Louis. Additionally, Howard led a workshop of the new musical Influence Her , as well as Sanctuary Road with Virginia Opera, The Passion of Mary Cardwell Dawson with Pittsburgh Opera and Opera Carolina, and the world premiere of Two Corners , a new opera from composer B.E. Boykin and librettist Jarrod Lee, commissioned and presented by Finger Lakes Opera. READ MORE Most recently, Howard assisted with the workshop of Two Corners , in addition to directing L’italiana in Algeri with Tulsa Opera, the revival of The Passion of Mary Cardwell Dawson with the Washington National Opera, Plantation Black with Playwright’s Horizon, Honey and Leon at Theatre Row, Songs in Flight at the Metropolitan Museum of Art with Sparks & Wiry Cries, and On the Town for Montclair University as well as returning as Assistant Director at the Metropolitan Opera for both Champion and Die Zauberflöte . Previously, Ms. Howard’s opera engagements included a return to The Metropolitan Opera as Assistant Stage Director for Porgy and Bess and Tosca . In addition, she directed productions of William Grant Still and Verna Arvey ‘ s Highway 1 , USA for Indiana University, the world premiere of Errollyn Wallen and Deborak Brevoort’s Quamino’s Map commissioned by Chicago Opera Theater, Carlos Simon and Sandra Seaton’s Night Trip for Opera NexGen, reprised The Passion of Mary Cardwell Dawson for the Glimmerglass Festival, Damien Geter and Lila Palmer's American Apollo for Des Moines Metro Opera, and directed a workshop of a new modern opera called Echos of the Great Migration by Vince Di Mura for Catapult Opera Company. Theatre engagements included B.R.O.K.E.N Code B.I.R.D Switching for the Berkshire Theatre Group, as well as readings of Ghost Story for New Jersey Repertory Theatre, Pelican Bar for The Gural Theatre produced by Theatre Now, and a concert presentation of select excerpts from The Oscar Micheaux Project , a new musical produced by Prospect Theater Company at 59E59, and later part of the National Alliance for Musical Theatre’s 35th Annual Festival of New Musicals. She also directed an 8-part film series adapting BIPOC classic pieces for New Camerata Opera called Refractions . Kimille first joined The Metropolitan Opera in 2019 as the Assistant Stage Director in the “Splendid” ( New York Times) , and “Exhilarating” (Washington Post) new James Robinson production of Porgy and Bess . She also made her Broadway début as Assistant Director on the 2019 Tony Award winning musical Ain’t Too Proud: The Life and Times of The Temptations . Recent operatic engagements have included L’amant anonyme for Wolf Trap Opera, Death By Life : a virtual opera for White Snake Projects, and The Passion of Mary Cardwell Dawson , a new play with music, celebrating the founder of the historic and groundbreaking National Negro Opera Company with original music composed by Carlos Simon for the Glimmerglass Opera. Theatre credits include Skeleton Crew by Dominique Morisseau for TheatreSquared, TRIGGERED by Gabriel Jason Dean for Cherry Lane Theatre, Soil Beneath by Chesney Snow for Primary Stages/59E59, $#!thole Country Clapback by Pascale Armand for the Loading Dock Theatre, A Light Staggering by Jeesun Choi and Low Power by Jon Kern for the Ensemble Studio Theatre, BLACK GIRLS ARE FROM OUTER SPACE by Emana Rachelle for the National Black Theatre, The Visit for East Carolina University, In The Open by Mona Monsour for Western Connecticut State University, and Tidwell: or the Plantation Play by Rodney Witherspoon II, winner of the Samuel French OOB Short Play Festival. Her work has also been seen at MultiStages, The Circle in the Square Theatre Circle Series, The Queens Theatre, Juilliard, The Flea, The Lark, JAGFest, NYU, Sea Dog Theater, and Atlantic Acting School, CLASSIX/The Lewis Center, among others. She has worked with Des McAnuff, Rebecca Frecknall, Ruben Santiago Hudson, Emily Mann, Stephen Wadsworth, Lorca Peress and more. Recent Fellowships include New York Theatre Workshop 2050 Fellowship, the Manhattan Theatre Club Jonathan Alper Directing Fellowship, and New York Stage and Film’s inaugural NYSAF NEXUS project. She is a former Resident Director at the Flea Theater, and she was the Series Producer for American Opera Project’s first season of Music as the Message. She has produced shows at the HERE Arts Center, FIAF, and more. She is a recipient of OPERA America’s 2023 Robert L. B. Tobin Director-Designer Prize. Current as of October 23, 2024 CRITICAL ACCLAIM "... a fine eye for comic flair..." – Tulsa World L’italiana in Algeri– “Director Kimille Howard stages the action with a fine eye for comic flair, allowing the buffoonery to build up slowly to the cartoonish finale. She also kept the action on stage in almost constant motion — a bit like Rossini’s music — with the chorus and extras reacting to the silliness on stage” __________ “... Howard’s skillful management…” – DC Theater Arts The Passion of Mary Cardwell Dawson – “It is director Howard’s skillful management of the performances, set-sound-and-light cues, and staging that keeps all those disparate pieces of the scaffold balanced.” __________ "... Howard’s forthright concept…” – Seen and Heard International The Passion of Mary Cardwell Dawson – “Due to Kimille Howard’s forthright concept, careful placement of the stage and the high-powered performances by the cast, it really worked. There was nothing make-do about this performance whatsoever.” __________ "... masterful direction..." – Splash Magazines B.R.O.K.E.N code B.I.R.D switching – “The movement is exceptional—at times slinky, sensual, and visceral, always realistic—likely reflecting superb work by intimacy coach Marie C. Percy along with masterful direction by Kimille Howard. In an interview, newcomer playwright Tara L. Wilson Noth explains that Howard took pains to assemble a predominantly BIPOC creative team. Her efforts have paid off in the sterling execution of this arresting theatrical exploration of finding the space to delve into one’s true feelings and address unresolved trauma along with the concept of being seen.” __________ "presided over a visually clear and attractive staging" – Hyde Park Herald Quamino's Map – “Director Kimille Howard presided over a visually clear and attractive staging, even when the Studebaker Theater boards were packed with principals and chorus.” __________ "Kimille Howard directed a[n]...effective production." – Washington Classical Review L’Amant Anonyme – "Kimille Howard directed a minimal but effective production. Technicolor costumes situated the action in the 18th century, with some of the character dynamics further fleshed out by a zany dumbshow staged during the overture." __________ "...a testament to the power of clear vision." – I care if you listen Death by Life – "Based on original writings by incarcerated authors and their families, Death by Life is a testament to the power of clear vision. The 90-minute live digital opera is the latest production from White Snake Projects, an activist opera company committed to transmedia work and partnerships with non-musical activist communities. Using a custom software Tutti Remote, engineers Jon Robertson and Paul Deziel mixed live feeds of four singers located in California, Nebraska, Illinois, and New York and integrated Unreal Engine’s 3D environments into a live YouTube stream. At the May 20, 2021 premiere, singers Aaron Blake, Lucia Bradford, Nicholas Davis, and Tiana Sorenson were impressively synced, tuned, and compelling." __________ "Strip away the remarkable visuals and technological wizardry, and Death by Life is the stuff of which opera is made. " – Seen and Heard International Death by Life – "Strip away the remarkable visuals and technological wizardry, and Death by Life is the stuff of which opera is made. Death by Life is great theater with an activist edge that brings to mind Larry Kramer’s The Normal Heart or Jonathan Larson’s Rent. Just as those authors made AIDS real for audiences with no personal experience of the disease, Death by Life does it for the twin evils of systemic racism and mass incarceration. And, like the other two plays, Death by Life left me with tears in my eyes, as well as the unsettling realization that Orange Crush is not just a soft drink." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Aaron Sanko Film/TV/Theatre

View artists profile - MEZZO-SOPRANO LURETTA BYBEE MEZZO-SOPRANO BIOGRAPHY Mezzo-soprano Luretta Bybee has proven to be an artist of remarkable range and versatility in her performances throughout the world and is in demand as a dynamic and comedic singing actress. Continuing her forays into the realm of musical theater, Ms. Bybee has portrayed roles such as Madame Armfeldt in A Little Night Music with the Pine Mountain Music Festival, Little Buttercup in H.M.S. Pinafore and her role début as Golde in Fiddler on the Roof at Shreveport Opera, Ruth in Pirates of Penzance with San Diego Opera, and Mrs. Lovett in Sweeney Todd at Vancouver Opera, Glimmerglass Opera, New Orleans Opera, and Opera Tampa. In the summer of 2025, Ms. Bybee returned to Glimmerglass Opera to sing the roles of Old Lady/Blaire in their production of Sunday in the Park with George . In addition, her most recent engagements include performing as Mary in Der fliegende Holländer with Fort Worth Symphony Orchestra, Dallas Opera, Opera Carolina, and Seattle Opera, On Broadway with the Springfield Symphony, Marcellina in Le nozze di Figaro for New Orleans Opera, Madame de la Haltière in Cendrillon with New Orleans Opera, and Dame Marthe in Faust with Arizona Opera. She also sang as a soloist in the New York Festival of Song Sondheim Concert at Carnegie Hall and Beethoven’s Symphony No. 9 with Seattle Symphony and San Antonio Symphony. 2020 engagements were to include a return to Carnegie Hall for The Music of Carly Simon and Marcellina in Le nozze di Figaro with Maryland Lyric Opera. READ MORE She first made her Seattle Opera début as Princess Maria in Francesca Zambello’s production of War and Peace , which was released on video. She returned as a house favorite as Paula in Florencia en el Amazonas , Amanda in the world premiere of Daron Hagen and Gardner McFall’s Amelia , Klytämnestra in Elektra , Mary in Der fliegende Holländer , Waltraute in Die Walküre , Second Norn and Waltraute in Götterdämmerung , and Fricka in both Das Rheingold and Die Walküre . She has appeared in Seattle Opera’s Der Ring des Nibelungen in their cycles in 2005, 2009, and 2013. Other appearances have included Herodias in Salome at the Arizona Opera, Orlando Opera, and Cleveland Opera; Ulrica in Un ballo in maschera with Opera Memphis; the title role in The Rape of Lucretia for Opéra de Montréal; and Dalila in Samson et Dalila with Memphis Opera. International recognition came early in her career when she sang the title role in the world tour of Peter Brook’s La tragédie de Carmen . Bizet’s heroine has since figured heavily in Ms. Bybee’s career success. The Seattle Times noted, “Luretta Bybee…is a sexy, adroit Carmen whose wealth of experience shows in every phrase and gesture.” She has performed the role for more than 25 opera companies throughout the world. Ms. Bybee’s interpretations of Rossini characters earlier in her career garnered widespread recognition and praise. In addition to her appearances as Isabella in L’italiana in Algeri at New York City Opera, she sang the role in Cologne, Dublin, and at the Festival International de Santander. She made her Frankfurt Opera début in concert performances of Tancredi and sang the role of Falliero in the American premiere of Rossini’s Bianca e Falliero at Florida Grand Opera. Ms. Bybee also enjoyed great success as Farnace in Mitridate, re di Ponto at the Wexford Festival and in Queen Elizabeth Hall in London. The Verdi Requiem marked Ms. Bybee’s début at Carnegie Hall. She also appeared as the mezzo-soprano soloist in a Verdi gala with the Jacksonville Symphony and sang Bernstein’s Songfest to open the season at the 92 nd Street Y in New York and again with Seiji Ozawa at the Tanglewood Festival. Additionally, she sang Handel’s Messiah with the Colorado and Houston Symphonies. Ms. Bybee created the role of Joanna in Carly Simon’s opera Romulus Hunt in its world premiere in New York. The production was directed by Francesca Zambello and recorded for Angel records. A sought-after educator, clinician, and competition judge, Professor Bybee serves on the voice faculty at Loyola University’s College of Music and Fine Arts in New Orleans. Current as of August 20, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...brightly ornamented vocals..." – New Orleans Advocate Sweeney Todd – “As Mrs. Lovett, mezzo-soprano Luretta Bybee (Grimsley’s wife of 30 years) is the near-perfect accomplice to his villainy, grinding up the bodies of his victims and baking them into meat pies she cheerfully sells to adoring customers. Her brightly ornamented vocals are a reflection of that joy, as well as the joy she and Sweeney share in their “By the Sea” duet.” __________ "...presence commanded the stage...” – Nola Defender Cendrillon – “His despotic wife Mme. De la Haltiere, was played with brilliant authority by mezzo Luretta Bybee, whose presence commanded the stage.” __________ "...acted to perfection..." – Green Valley News Faust – “Marthe Schwerlein was sung by Luretta Bybee and acted to perfection as the seductive “older” widow bent on catching Mephistopheles as her second husband.” __________ "...finely tuned and versatile vocal instrument..." – The Tennessean Aida – “Bybee manages to convey love and jealousy with complete believability through her finely tuned and versatile vocal instrument. One feels greatly for her character despite Amneris’ flaws.” __________ "...nice comic turn..." – Seattle Times Falstaff – “Luretta Bybee had a nice comic turn as the indispensable Dame – Quickly.”

View artist profile - CONDUCTOR/COMPOSER ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE DARWIN AQUINO CONDUCTOR/COMPOSER BIOGRAPHY Known for his charismatic energy, his strong artistic convictions, and musical versatility, Dominican composer, conductor, and violinist Darwin Aquino is making an impact worldwide leading acclaimed performances of new works, symphonic music, opera, ballet, and chamber music, with a particular focus on the Latin American and Caribbean repertoire. In the Dominican Republic, he served for more than fifteen years as the Artistic & Music Director of El Sistema , the Director of the National Conservatory of Music, and the Composer-in-Residence and Violinist for the Dominican National Symphony Orchestra, where he inspired a new generation of musicians with his dynamic leadership and advocacy efforts. Darwin refers to his creative life in this way: “ My music emerges from the heart of Caribbean rhythms and chants. We are a creative mixture of cultures – an explosion of sounds, colors, and imagination. It has always been my universe, my poetic vision of the world.” He is currently in his fifth season as Artistic & Music Director of the St. Louis Philharmonic Orchestra, where he has worked extensively to amplify the recognition of the ensemble as one of the most noted performing arts organizations in the Midwest, and his eighth season as Conductor-in-Residence with the Washington University Symphony Orchestra. Recent engagements include conducting debuts with Opera Southwest (Boccherini’s Doña Clementina / U.S. premiere), the National Symphony Orchestra of Panama, the St. Louis Symphony Orchestra (SLSO), and the Interlochen Center for the Arts. READ MORE As a composer, Darwin was commissioned by the Dialogues V Festival for the world premiere of his piece Vom Imaginatio Folkloricus 3.5 , performed by the Lux Nova Duo and Sinfonietta Vivazza, at Berlin’s Philharmonie Kammermusiksaal , Hamburg’s Rezonanzraum, and Madrid’s Nuevo Teatro Alcalá. From the premiere of his orchestral piece Espacio Ritual with the Orchestre Philharmonique Radio France at La Maison in Paris, the Musique au Jour le Jour reviewed: “Aquino has very well listened to the French composers, Boulez or Varese, developing in this piece a deeply personal language and an inventive mastery for writing to the orchestra.” Recently, Darwin was selected as the new Head of Music for Opera Theatre of Saint Louis, where he has also served as Conductor for the New Works Collective since its inception in 2023, leading its first nine world premieres to great success and earning a reputation as a champion of new music. Recent seasons have seen Darwin as a guest conductor for the Philharmonishes Staatsorchester Mainz and the Saarländisches Staatsorchester in Germany, where he led special New Year’s Day concerts and sold-out performances of Latin American symphonic music, including his own orchestral works YOAminicana and Congofonía . Other recent notable engagements include the Florida Grand Opera (Cimarosa’s Il Matrimonio Segreto with his own Spanish translation), Missouri Symphony Orchestra, The Cleveland Opera ( Porgy and Bess ), Ashland Symphony Orchestra (world premiere of his orchestral piece Lunga Pandemia ), Saint Louis Ballet, Caribbean Lyric Festival, National Symphony Orchestra of Costa Rica, Chicago Summer Opera, Filarmónica Boca del Rio in Mexico, Orchestra of the Americas, Chamber Project Saint Louis, Missouri Festival for the Arts, and the Chamber Music Society. Darwin was the first Latin American conductor to be appointed Music Director for the Gateway Festival Orchestra (2019-2024), Winter Opera St. Louis (2016-2019), and Director of Orchestral Studies at the University of Missouri-St.Louis (2017-2022). Of his performance of Norma with Winter Opera, the St. Louis Post-Dispatch remarked, “Conductor Darwin Aquino had the orchestra sounding great from the first measures of the overture and maintained a good balance between stage and pit. He has a fine feel for the nuances of the bel canto style and knows to breathe with the singers.” As an advocate for music education, Darwin has worked with numerous universities’ orchestras, ensembles, and opera programs. Highlights include a full concert of new Latin American music with the Illinois Modern Ensemble at University of Illinois Urbana-Champaign; L’Etoile with Florida International University; The Medium , Chichester Psalms , and Leanna Kirchoff’s The Clever Artifice of Harriet and Margaret (National Opera Association winner) with UMSL, and performances of Carmina Burana , Haydn’s Te Deum , and Vaughan Williams’s Sea Symphony with the Washington University Symphony Orchestra and Choirs. He has assisted conductors such as Leonard Slatkin, Patrick Summers, George Manahan, Gemma New, Carlos Miguel Prieto, Gzregorz Nowak, Benjamin Zander, Daniela Candillari, Ramon Tebar, Rory McDonald, and many others. Darwin served as Assistant Conductor for the Orchestra of the Americas, Palm Beach Symphony Orchestra, and FIU Symphony Orchestra, as well as Cover Conductor for both the St. Louis Symphony Orchestra and the St. Louis Youth Symphony Orchestra. In opera, he has worked as Assistant Conductor for Opera Theatre of Saint Louis, Florida Grand Opera, and Opera Naples. Current as of September 18, 2025 CRITICAL ACCLAIM "...perfection..." – Broadway World – St. Louis New Works Collective (Opera Theatre of Saint Louis) – “Conductor Darwin Aquino draws perfection from his orchestra. Magically they sound much larger”. __________ "...exceptional performances..." – KDHX New Works Collective (Opera Theatre of Saint Louis) – “Darwin Aquino led the orchestra in exceptional performances of three very different scores”. __________ "...three encores..." – Allgemeine Zeitung Neujahrskonzert (New Years Concert) – “The young Dominican conductor Darwin Aquino led the orchestra this time and made great work, giving the orchestra three encores as a result.” __________ "...led a lively, fast-paced reading..." – South Florida Classical Review Il Matrimonio Segreto (Spanish Translation) – “Darwin Aquino, a former FGO Assistant Conductor, led a lively, fast-paced reading of Cimarosa’s elegant work. Benedetta Orsi and Aquino’s Spanish libretto works remarkably well with Cimarosa’s bubbly score. Many Spanish-speaking members of the audience found the adaptation amusing and entertaining”. __________ "...a fine feel for the nuances of the bel canto style..." – St. Louis Post-Dispatch Norma – “Conductor Darwin Aquino had the orchestra sounding great from the first measures of the overture and generally maintained a good balance between stage and pit. He has a fine feel for the nuances of the bel canto style, and knows to breathe with the singers”. __________ "An excellent support and professional sound..." - The Miami Herald L’Etoile – “An excellent support and professional sound from the symphony orchestra, conducted by Darwin Aquino.” __________ "...rousing and dominant..." - Ladue News, St. Louis Il trovatore – “Aquino’s conducting was rousing and dominant, carrying Verdi’s rich score in the capable hands of the Winter Opera orchestra”... "Bizet’s music is captivating and enthralling, especially when performed as lushly as it was in Winter Opera’s presentation under the steady influence and keen ear of conductor Darwin Aquino, who kept the orchestra on a high level of performance throughout." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General

View artist profile - BARITONE ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE JOSHUA JEREMIAH BARITONE BIOGRAPHY Hailed as “rich-voiced” (The New York Times) and praised for his “warmly appealing, burnished baritone” (Opera Today), Joshua Jeremiah continues to bring his celebrated performances to theaters throughout the United States. Last season brought an exciting world premiere with Beth Morrison Projects singing the role of Niles in Sensorium Ex , as well as a workshop of the new work The Sheltering Tree with Hawaii Opera Theater, a house début with South Dakota Symphony Orchestra as the Preacher in Giants in the Earth , and his return to Dallas Symphony covering Alberich for their performances of Wagner’s Ring Cycle . In an exciting 2025-2026 season, Mr. Jeremiah joins Heartbeat Opera as the Doctor in Vanessa , returns to Toledo Opera as Escamillo in Carmen , débuts with Piedmont Opera as Tonio in Pagliacci , and returns to Hawaii Opera Theater for the world premiere of The Sheltering Tree . Most recently, Mr. Jeremiah returned to Virginia Opera as Alberich in Siegfried , appeared as a soloist with the Virginia Symphony for Orff’s Carmina Burana , joined Toledo Opera for his role début as Tateh in Ragtime , and appeared in a concert of Puccini highlights with Portland Opera. Additional recent engagements include his début with Seattle Opera as Steersman in Tristan und Isolde , Melchoir in Amahl and the Night Visitors with OnSite Opera, Senator McCarthy/others in Fellow Travelers with Virginia Opera, a reprise of his celebrated Schicchi in Gianni Schicchi with Hawaii Opera Theater, and the title role in Macbeth with Resonance Works. READ MORE Previous seasons also brought his return to Opera Company of Middlebury as Dunois in The Maid of Orleans and Jupiter in Orphée aux enfers , his role and company début as Donner in Das Rheingold with Nashville Opera, his role début as Germont in La Traviata with First Coast Opera, and Mr. Meriwether (Pooh-Bah) in The Montana Mikado , Intermountain Opera Bozeman’s new adaptation of the Gilbert & Sullivan classic. Additionally, he sang Il Conte di Luna in Il trovatore with Opera Tampa, Pangloss in Candide with Opera Company of Middlebury, and his début with Houston Grand Opera to sing the student matinee and cover Rigoletto . Mr. Jeremiah made his début with Minnesota Opera as Horstmayer in Silent Night , performed the title role in Rigoletto with the Sacramento Philharmonic and Opera, Carmina burana with the Westmoreland Symphony, Scarpia in Tosca with the Reading Symphony, Father in Chunky in Heat with Experiments in Opera, Silvio in Pagliacci with New Orleans Opera, The Man in Persona in his Los Angeles Opera début, covering Alberich in Das Rheingold with Arizona Opera, his début with On Site Opera as Aaron Greenspan in Morning Star , When Adonis Calls with Asheville Lyric Opera, Marcello in La bohème with the Pittsburgh Festival, and Gianni Schicchi with the Opera Company of Middlebury. Other highlights for Mr. Jeremiah include his role début as Macbeth with Opera Company of Middlebury, the title role in Rigoletto and Lassiter in the world-première of Riders of the Purple Sage with Arizona Opera, The Man in the world-première of Persona with Beth Morrison Projects, Demetrius in A Midsummer Night's Dream with Hawaii Opera Theatre, Gianni Schicchi with Mobile Opera, Alfio in Cavalleria rusticana with the New Jersey Festival Orchestra, his début with Des Moines Metro Opera as The Foreman in Jenůfa and Sonora in La fanciulla del West , Escamillo in Carmen with the Northern Lights Festival, John Sorel in The Consul with Opera Santa Barbara, Aeneas in Dido and Aeneas to Stephanie Bythe’s Dido with Mark Morris Dance Group at the Mostly Mozart Festival, Ford in Falstaff with Opera Louisiane, the world première of A Death in the Family with Hungary’s Armel Music Festival, Don Pedro in La Périchole , Deputy Mayor in Anna Nicole , the cover of Junior in A Quiet Place , and Guglielmo in Così fan tutte with New York City Opera, Billy Bigelow in Carouse l with the Carnegie Visual and PAC, Capt. Lutte in Noel Coward ’s  Bitter Sweet with Bard SummerScape, and Athanaël in Thaïs with Opera Company of Middlebury, and Silvio in Pagliacci   with Spokane Opera.   Mr. Jeremiah has been heard in concert with the New Haven Symphony, Cape Cod Symphony, Toledo Symphony, débuted with Jazz at Lincoln Center in a Rufus Wainwright concert, appeared with the New York Festival of Song with Steven Blier, and débuted at Alice Tully Hall with the Little Orchestra Society in an all-Victor Herbert program. He had his State Theater début with the New York City Opera orchestra in their 2010 gala Lucky to Be Me: Music of Leonard Bernstein . He has also joined the Yakima Symphony Orchestra for Beethoven’s  Symphony No. 9 , the Great Falls Symphony for Handel’s  Messiah , and the Cincinnati Symphony Orchestra for Nielsen’s   Symphony No. 3 . He is featured on the live recording of Silent Night , now available on the NAXOS label. He is a former Young Artist with Seattle Opera, Wolf Trap Opera Company, and The Glimmerglass Festival. Current as of June 13, 2025 CRITICAL ACCLAIM "... robust baritone..." – Opera News Candide – “Of course, none of this would fly without a strong cast. . . Joshua Jeremiah brings a robust baritone and high style to Pangloss." __________ “... Joshua Jeremiah gave a powerful performance…” – Seen and Heard International Frankenstein – “Joshua Jeremiah gave a powerful performance as the creature. His voice rang out rich, free and open and his diction was extraordinary...Jeremiah was just as potent dramatically, intertwining the anger and rage of the creature with his humanity." __________ "... powerful baritone…” – Voci Di Meche Morning Star – “Joshua Jeremiah used his keen dramatic instincts to create a believable character. His powerful baritone matched well with Ms. Pulley's soprano. We particularly liked a song he sang in Yiddish which was mostly understood by this German-speaking reviewer. He was reminiscing about what he missed about Riga.” __________ "... marvelous voice..." – The Addison Independent Macbeth – “Mr. Jeremiah has an equally marvelous voice and he gives a nuanced, fascinating performance as a conflicted Macbeth. He, again, is also a true singer-actor, bringing a vitality and physicality to the role that is a delight to watch. This Lord and Lady Macbeth engage each other with a sparkling intimacy that makes their “road to hell” a very engaging one.” __________ "... warmly appealing, burnished baritone..." – Opera Today A Midsummer Night’s Dream – “Joshua Jeremiah as Demetrius, whose warmly appealing, burnished baritone was wedded to exceptional diction. Both cut strapping romantic figures. . . These four lovers triumphed in the great Act Three quartet, their fresh, youthful instruments soaring, aching, and tumbling over each other in heartfelt, overlapping phrases. It proved to be the heart of the show and the unequivocal triumph of the evening.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

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