View artist profile - BASS-BARITONE INSTAGRAM FACEBOOK YOUTUBE ASHRAF SEWAILAM BASS-BARITONE BIOGRAPHY The New York Times hailed Ashraf Sewailam’s début at Lincoln Center’s Avery Fisher Hall as a “stand out performance” and Opera News described his voice as “purring and velvety with an easily produced Ramfis-like top range with a majestic tone” and his stage presence as “strong, mysterious and with mesmerizing intensity.” Last season, Mr. Sewailam made his house début with the Lyric Opera of Kansas City in one of his signature roles, Dr. Bartolo in Il barbiere di Siviglia . He also returned to New Orleans Opera, this time as Dulcamara in L’elisir d’amore , and to Madison Opera as the Commendatore in Don Giovanni . In the summer he returned to Central City Opera to as Bartolo in Il barbiere di Siviglia. This season, he joins the Royal Opera House Muscat and the Hungarian State Opera as Samman in the world premiere of Sindbad . He also joins Opera San Antonio to reprise Bartolo in Il barbiere di Siviglia . In addition to his success in the traditional lyric bass repertoire, he is recently being lauded by critics for his comedic timing and compelling performances in the difficult Rossini and buffo repertoire with role débuts as Bartolo in Il barbiere di Siviglia , Mustafà in L'italiana in Algeri , and Don Magnifico in La Cenerentola . Of his performance in the title role of Rossini's rarely performed Maometto II , critics raved that he " blustered and raged with impressive force," singing “unflappably, finding in Rossini’s musical obstacles aspects of a fascinating character who is too often portrayed as an insipid villain." Recently, Mr. Sewailam joined the roster of the Lyric Opera of Chicago covering Sulpice in La fille du regiment and made his house début with Des Moines Metro Opera as Bartolo in Il barbiere di Siviglia . He also returned to New Orleans Opera to sing Bartolo in Le nozze di Figaro , Opera San José to sing Sparafucile in Rigoletto , Seattle Opera to sing Bartolo in Il barbiere di Siviglia , and Opera Memphis to sing Giove in La Calisto . In concert, he was the bass soloist in Messiah with Pro Musica Colorado. READ MORE Sewailam performed the roles of Bartolo in Il barbiere di Siviglia with New Orleans Opera, Mustafa in L’italiana in Algeri with Tulsa Opera, Hakim/Driver in A Thousand Splendid Suns with Seattle Opera, and Ferrando in Il trovatore with Pittsburgh Opera. Additionally, he directed Otello at Central City Opera. In concert, Sewailam sang the bass solo in Beethoven's Symphony No. 9 with the South Dakota Symphony. Recently, Sewailam made his mainstage Metropolitan Opera debut in The Magic Flute and joined their production of Ariadne auf Naxos ; he returned to Seattle Opera as Colline in La bohème , joined Tulsa Opera for their production of Salome , took on the title role in Maometto II for Washington Concert Opera, and rejoined Opera Carolina as Masetto in Don Giovanni . As a director, he headed Opera Louisiane’s Lucrezia and in concert, he was seen at the Denver Philharmonic Orchestra in their performances of Beethoven's Symphony No. 9 and Choral Fantasy. Engagements in 2020 were to include both Carmen and Les Contes d'Hoffmann at The Metropolitan Opera, Don Magnifico in La Cenerentola with Minnesota Opera, and Ramfis in Aida with Virginia Opera. In the summer of 2021, Ashraf joined Opera Steamboat as Basilio in Il barbiere di Siviglia and Dr. P in The Man Who Mistook His Wife for a Hat. Previous engagements include the role of Osmin in Die Entführung aus dem Serail and Queequeg in Moby Dick with Opera San Jose, Bartolo in Le nozze di Figaro with San Diego Opera, Colline in La bohème with Austin Opera, Basilio in Il barbiere di Siviglia with New Zealand Opera, the title role in Ali Baba with Opera Southwest, the role of Capitán in Florencia en el Amazonas with Madison Opera, Monterone in Rigoletto with Opera Grand Rapids, Toledo Opera, and Opera Carolina, Ligneire in Cyrano with Opera Carolina, Ramfis in Aida with Opera Rockies in Colorado Springs, a recording of The 13th Child , a new opera by Danish composer Poul Ruders, Die Sprecher in Die Zauberflöte with Central City Opera, and the pivotal role of Ferrando in Il trovatore, with critics exclaiming, “…When you add bass Ashraf Sewailam to the mix, this becomes even more special…and it needs someone of Sewailam’s caliber.” In his début with New Zealand Opera as the assassin Sparafucile in Rigoletto , he was described as “…hard to better, both vocally and dramatically.” He subsequently returned to sing Alidoro in La Cenerentola , which he later performed for Queensland Opera. Ashraf made his United States début in 2004 with Opera Colorado performing the role of Leporello in Don Giovanni . Quickly becoming a house favorite, he subsequently returned to sing Count Ceprano in Rigoletto , Bartolo in Le nozze di Figaro , Basilio in Il barbiere di Siviglia , and The King of Egypt in Aida . Mr. Sewailam made his New York City directorial debut directing a production of The Cunning Little Vixen with dell’Arte Opera Ensemble. Critics revered Mr. Sewailam’s direction as “thoughtful” ( Voce di Meche ), yet “straightforward” ( New York Classical Review ) and praised the production as being “intriguing” and “well-sung” ( Opera News ). Other engagements include appearances with the Boston Symphony as Leporello in Don Giovanni , Colline in La bohème , Pistola in Falstaff , Sarastro in Die Zauberflöte , and The Narrator in Peter and the Wolf ; returns to San Diego Opera for Ramfis in Aida , Leporello in Don Giovanni , and Pizzetti’s Assassinio nella cattedrale ; the Pirate King in The Pirates of Penzance with Lyric Opera of San Diego; and an exciting co-production between Opera Carolina, Virginia Opera, Toledo Opera, Opera Grand Rapids, and Lyric Opera Baltimore of Roméo et Juliette as Capulet. Additional roles include Balthazar in Amahl and the Night Visitors at Central City Opera; Angelotti in Tosca with Lyric Opera Baltimore; Pooh-Bah in The Mikado with Opera Memphis; Escamillo in Carmen and Queequeg in Moby Dick with Fargo-Moorhead Opera; Secret Police Agent in The Consul with Chautauqua Opera; Sparafucile in Rigoletto with Fresno Grand Opera; Ferrando in Il trovatore with Chautauqua Opera and Virginia Opera; Colline in La bohème with The Chattanooga Symphony and Opera; Dulcamara in L ’ elisir d’amore with Baton Rouge Opera; and a rousing performance as Beethoven/Commendatore in Pulitzer Prize–winning composer Steven Stucky’s opera The Classical Style at Carnegie Hall, a role he originally created at Ojai Music Festival. Mr. Sewailam’s concert appearances include Orso Faledro in La nave , Uin-Sci in Leoni’s L’oracolo , and Salomone in Montemezzi’s L’incantesimo at Avery Fisher Hall; his Carnegie Hall début as the Bass soloist in Rutter’s Mass of the Children ; Mahler’s Symphony No. 8 with Colorado Mahlerfest; and the bass solo in Beethoven’s Symphony No. 9 with the Phoenix Symphony. Additional concert engagements include Brahm’s Requiem with Dubuque Symphony, Beethoven’s Symphony No. 9 with Colorado Springs Philharmonic, Handel’s Messiah with Cheyenne Symphony, a concert entitled Eternal Spirit with Boulder Bach Festival, and a recital with pianist Kenneth Osowski at York College. He also appeared numerous times with the Colorado Symphony, Boulder Bach Festival, and the Colorado Music Festival. His concert repertoire includes Bach’s Saint John’s Passion , Magnificat , Christmas Oratorio , and Lutheran Masses in F and A ; Handel’s Messiah ; Haydn’s The Creation and Lord Nelson's Mass ; Mozart’s Requiem and Vespers ; and the Verdi Requiem . Mr. Sewailam also has a commercial recording on the Bridge label in which he performs Ten Songs from the Hebrew by Stefan Wolpe. Mr. Sewailam began his career as a Cairo Opera Company house soloist, where he performed many roles including Dulcamara in L’elisir d’amore , Gaudenzio in Il signor Bruschino , Ramfis in Aida , Palémon in Thaïs , and Sparafucile in Rigoletto . Mr. Sewailam was named a prize winner at the New Voices (Neue Stimmen) international competition in Gütersloh, Germany and was featured in the opening concert of the New Alexandria Library singing Beethoven’s Symphony No. 9 in Arabic. In addition to his singing engagements, Mr. Sewailam has taught at the American University in Cairo and served as music director for Disney Character Voice International (DCVI), dubbing Disney productions into Arabic and performing several of the characters. He earned a Doctor of Musical Arts degree in Vocal Performance and Pedagogy from the University of Colorado at Boulder. Current as of August 30, 2025 CRITICAL ACCLAIM "...anchored the opera’s moral reckoning with thunderous authority." – Isthmus Don Giovanni – "And Ashraf Sewailam, as the Commendatore, anchored the opera’s moral reckoning with thunderous authority. Even in stillness, his presence loomed." __________ "...effortlessly projected top Es and Fs... dominating the scene..." – Voix des Arts Maometto II – "In WCO’s Maometto secondo, Egyptian bass-baritone Ashraf Sewailam honored the legacies of both Galli and Mehmed II by portraying the legendary conqueror as a man whose severity was tempered by a lover’s vulnerability. Maometto makes as dashing an entrance as any character in opera, his aria ‘Sorgete: in sì bel giorno, o prodi miei guerrieri’ requiring ironclad bravura technique and indomitable security in the upper register. Sewailam dispatched the fiorature stirringly and effortlessly projected the top Es and Fs. Dominating Maometto’s scene with the chorus, the bass-baritone matched his colleagues’ urgent vocalism in the terzetto with Calbo and Erisso. Launching the Act One finale, Sewailam voiced ‘Guardie, olà’ robustly, invoking the might of the Ottoman empire. His singing often recalled that of the preeminent recent exponent of Maometto’s music, Samuel Ramey, the two singers sharing a prowess for evincing the dramatic impetus in Rossini’s intricate music. Sewailam partnered Crocetto brilliantly in Maometto’s duet with Anna in Act Two, voicing ‘Anna, tu piangi? Il pianto pur non è d’odio un segno’ with benevolence and concern. As Anna’s disdain for the false pretenses under which Maometto paid court to her became obvious, Sewailam’s vocalism grew more flinty, the velvet of his wooing transforming into the steel of vengeance. Sung with fury, the repeated top E♭s in the aria with chorus, ‘All’invito generoso riconosco i miei guerrieri,’ limned the sultan’s increasing exasperation. The blustering brawn of Sewailam’s voice reverberated in the terzetto with Calbo and Erisso, Maometto having reached the limit of his magnanimity. His love thwarted by Anna’s suicide, Maometto’s humanity reached its zenith in the opera’s final scene, which in Sewailam’s performance was an affecting lament for his beloved. Singing music as demanding as Maometto’s rarely comes naturally to lower voices, but Sewailam sang Maometto unflappably, finding in Rossini’s musical obstacles aspects of a fascinating character who is too often portrayed as an insipid villain." __________ "...exquisitely hilarious..." – Oregon ArtsWatch L’Italiana in Algeri – “Sewailam has an exquisitely hilarious moment toward the end of the second act where he eats pizza and sings (at the same time) as he becomes a member of Isabella’s drummed-up ‘Pappataci’ order, whose members ‘eat, sleep and pay no attention’ (so Isabella and her lover can escape). Mustafa is honored with a red-and-white checked tablecloth, which replaced his gold satin ‘sweat suit’ befitting a rapper.” __________ "...brought so much vocal power and interpretive depth to his role..." – San Diego Story La Cenerentola – “Bass-baritone Ashraf Sewailam brought so much vocal power and interpretive depth to his role as Alidoro, he made me momentarily forget about the slender plot of Rossini’s comic opera.” __________ "...rich bass-baritone sent shock waves through the house whenever he sang..." – DC Metro Theater Arts Roméo et Juliette – “Other notable performances include Ashram Sewailam as the mercurial Count Capulet, whose rich bass-baritone sent shock waves through the house whenever he sang, particularly during his introductory aria that welcomes his guests, ‘Allons! jeunes gens!’” __________ "...he was equally striking in his consistency throughout the challenging range of low to high notes in his current role..." – Opera Pulse Aida – “Egyptian bass-baritone Ashraf Sewailam, appropriately cast here as the Egyptian King, has matured impressively since his SDO debut in Salome last season. Vocally imposing as the Third Tempter in last month’s Murder In The Cathedral, he was equally striking in his consistency throughout the challenging range of low to high notes in his current role. One hopes to see more of him in future productions.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

Learn more about the team at UIA Talent Agency - Ana De Archuletta. ANA DE ARCHULETA CONTACT STRATEGIC ADVISOR AND PARTNER Ana De Archuleta is a strategic and dynamic arts entrepreneur, quickly establishing herself as one of the most sought-after leaders in the operatic field. Founder of A.D.A. Artist Management, her focus has been to identify exciting new talent, nurturing the careers of the finest performers who excel in a variety of genres and repertoire, from emerging to internationally renowned artists. Ana’s vast background in the arts has played a major role in her success as an arts and culture leader. Throughout her life she has been involved in many facets of the performing arts as an instrumentalist, dancer, operatic stage manager, assistant director, opera chorister, and an operatic soloist. She is an active business member of Opera America, lending her expertise to many committees and panels. A board member of the new Olga Iglesias Project, helping and promoting the native lyric artists of Puerto Rico, also she is on the Advisory Board of Seagle Festival, and she co-chaired Women’s Opera Network Steering Committee, and was a panelist for the National Endowment of the Arts 2017 Arts Works Opera Grants. A sought-after mentor to Resident Artists of many performing arts organizations, Ana frequently offers her insights into the business aspect of the opera world via master classes and one on one consultations. She has presented her seminar on the “Business of Opera” at Cincinnati College-Conservatory of Music, Yale Opera, Washington National Opera, Minnesota Opera, and Wolf Trap Opera among others. Additionally, she has been invited to judge multiple vocal competitions including the Metropolitan Opera National Council, Fort Worth Opera’s McCammon Voice Competition, Shreveport Opera’s Mary Jacobs Smith Singer of the Year Competition, and Florida Grand Opera’s Young Patronesses of the Opera Vocal Competition.

View artist profile - DIRECTOR ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE JOSHUA BORTHS DIRECTOR BIOGRAPHY Joshua Borths (he/him) is a nationally recognized stage director, writer, and dramaturg. Known for his creative, emotional, and insightful productions, Borths’s work has been lauded as “beautiful, even poetic.” (Opera Today) Recently, Borths premiered a critically acclaimed production of The Flying Dutchman at Des Moines Metro Opera (DMMO) , starring Ryan McKinny and Julie Adams. The production “thrillingly met the substantial challenges of Wagner’s seminal work.” (Opera Today) Both his staging and character development was lauded with one reviewer noting that “in less capable hands, these characters might come across as one-dimensional, but Borths gave them depth that was refreshing but still true to Wagner’s vision.” (Little Village) Borths returns to Des Moines Metro Opera in 2026 to stage a new production of Puccini’s Tosca, starring Laura Wilde in the title role. In addition to The Flying Dutchman in the 2024/25 season, Borths directed a new production of Hansel and Gretel for Opera Montana. In 2025/26, Borths returns to DMMO to direct a new production of Tosca after directing new productions of Three Decembers, La traviata, Béatrice et Bénédict , and Dialogues of the Carmelites . READ MORE Borths is currently the Director of Opera Theatre at James Madison University (JMU), Company Dramaturg at DMMO, and Digital Preview Lecturer at Virginia Opera. In his role as Company Dramaturg at DMMO, Borths contributed to the company’s nomination for the International Opera Awards in 2024 (Best Festival). Previously, Borths served as the Resident Scholar at Virginia Opera; the Director of Opera & Musical Theater and Professor of Music History at Capital University in Columbus, OH; and as Director of Education & Resident Stage Director at Arizona Opera. Past favorites include new productions of T he Falling and the Rising and Beauty and the Beast for DMMO); Rusalka , Florencia en el Amazonas, and Il barbiere di Siviglia for Arizona Opera; Hansel and Gretel and The Tragedy of Carmen for Opera Memphis; Madama Butterfly at Pensacola Opera; La clemenza di Tito for the University of Maryland; Suor Angelica, Oklahoma!, and Der Kaiser von Atlantis for Crested Butte Music Festival; and L'elisir d'amore for Opera Las Vegas. As a stage director of musical theatre, Borths has directed Parade; Camelot; Kiss Me, Kate and The Music Man . Borths has also directed gala performances featuring Frederica von Stade and Joyce DiDonato and staged the southeastern premieres of Soldier Songs and La Hija de Rappaccini . As an assistant director, Borths has worked with Arizona Opera, Wolf Trap Opera, Michigan Opera Theater, Des Moines Metro Opera, and the Festival della Valle d'Itria in Martina Franca, Italy. Borths’s work as an assistant director contributed to the world premiere of Geter/Palmer’s American Apollo receiving an Emmy Award nomination in 2025. Additionally, Borths has hosted podcasts; written acclaimed surtitle translations; and publicly interviewed illustrious artists including Jake Heggie, Gregory Spears, David T. Little, Jonathan Dove, Damien Geter, Thomas Mallon, and Pulitzer Prize-Winning Author Jane Smiley. He also served as the director/dramaturg for the Loving v. Virginia libretto workshop at Virginia Opera. An active and engaging lecturer, Borths is regularly sought out by companies and opera fans alike. In addition to exponentially growing the prelude lectures at DMMO, Borths has given presentations at the Triangle Wagner Society, Wagner Society Manchester, with upcoming engagements at the Wagner Society of Scotland, Wagner Society of New York and Wagner Society of Southern California. As an educator, Borths has taught at Shenandoah University, been a Visiting Professor at the Crane School of Music (SUNY Potsdam), directed Maryland Opera Studio, and served as a guest panelist for Opera America. He collaborated with TED Ed on its first opera resources and was featured in Opera News for his innovative approach to opera education. Originally from Cincinnati, OH, Borths holds undergraduate degrees in Musicology and Vocal Performance with an emphasis in Opera Direction from the University of Michigan and a master’s degree in Opera Production from Florida State University. Current as of December 18, 2025 CRITICAL ACCLAIM "...visceral..." – The New York Times The Flying Dutchman – " Richard Wagner may be the opera composer most associated with epic grandeur: huge orchestras, huger sets. I never imagined I’d hear a full performance of one of his works while sitting just a few feet from the singers…At the opening of Wagner’s The Flying Dutchman in the last week of June, the bass-baritone Ryan McKinny could brood in a murmur as the endlessly wandering captain of the title, while the choruses of raucous sailors were ear-shakingly visceral. It registered when the subtlest Mona Lisa smile crossed the face of Julie Adams as Senta, whose romantic obsession leads her to sacrifice everything for the Dutchman. Try that at the Met." __________ "...Joshua Borths’ staging admirably managed logistics as well as character development." – Dallas Morning News The Flying Dutchman – " One thinks of Dutchman as grand opera…How would it come across in a 500-seat auditorium? The answer, at least on July 4, was quite impressively indeed…And Joshua Borths’ staging admirably managed logistics as well as character development." __________ "...miraculous..." – Opera Today The Flying Dutchman – "Director Joshua Borths has put his stamp on the staging with great invention. Without spoiling any effect, he staged a pantomime during the overture that cleverly sets up Senta’s obsession with the Dutchman and brilliantly suggests a union of spirits at opera’s end with an assist from the trap door…and on this occasion it was miraculous...Other than the rollicking scenes where the chorus can overtake the stage, this is quite a talky piece, with long stretches offering limited opportunities for movement. Mr. Borths has solved that by using the layout of the thrust space to keep characters logically moving about so that they play to all sides of the house…Moreover, his crowd movement was masterfully fluid and created shifting, meaningful stage pictures." __________ "Director Joshua Borths demonstrated keen understanding of Wagner’s symbolic tale." – Little Village The Flying Dutchman – "Director Joshua Borths demonstrated keen understanding of Wagner’s symbolic tale. Visual simplicity allowed the emotional undercurrents to percolate. Borths’ decision to show glimpses of Senta’s childhood during the overture was a wise addition. The audience watched Senta’s obsession develop, so when the fated lovers finally met, we understood her motivations. In less capable hands, these characters might come across as one-dimensional, but Borths gave them depth that was refreshing but still true to Wagner’s vision." __________ "...cleverly staged..." – Opera Magazine The Flying Dutchman – "Der Fliegender Holländer, arguably the only offering this season that might qualify as frequently encountered repertory, followed (on July 12). Some may voice surprise at the idea of mounting Wagner in DMMO’s 467-seat theatre, but in fact the work’s accessible, almost bel-canto like structure sat very gracefully in this intimate space… The director Joshua Borths cleverly staged the overture as Senta’s backstory, tracing her trajectory from an infant left motherless by a complicated childbirth into a headstrong, independent young woman with an inexplicable fascination for the legend of the Dutchman." __________ "Joshua Borths has fashioned a beautiful, even poetic production, investing it with every possible nuance." – Opera Today The Falling and the Rising – "Within this site-specific ambience, and assessing the limitations of the venue, director Joshua Borths has fashioned a beautiful, even poetic production, investing it with every possible nuance. There are some shortcomings in the dramaturgy, and Mr. Borths has assessed them and found the best possible story-telling solution. On first viewing, I either did not feel the Soldier was always involved enough in a given stretch, or I wondered if, in her coma, she was actually occasionally some other character, like the Colonel’s dead wife. We might have lost the thread of her illness, except the director created a wonderful piece of stagecraft...After the Soldier was injured, put on a gurney, and hooked up to an IV, the tube was very long, and wherever she went on stage she remained visually connected to her “condition” by this faux umbilical cord. I also liked the practical Skype displays in the opening scenes. Borths lavished a lot of attention on creating believable yet archetypal characters. He made great use of the cast to change simple set pieces to suggest the different settings, and I especially enjoyed his inventive positionings on the platforms and stairs." __________ "...clever and refreshing..." – Schmopera The Falling and the Rising – "Joshua Borths staging demonstrated the strength of simplicity. He utilized the small cast in a versatile manner that allowed the audience to focus on each scene, supporting the emotions rather than distracting from them. Borths maintained a narrative thread throughout the Soldier’s journey, stringing the various stories together through her discovery of dog tags across the stage. His creative incorporation of the military props was clever and refreshing. One particularly memorable scene had three of the singers using a parachute to mimic the clouds, evoking the weightless wonder with an otherwise practical piece of equipment. I have to commend Borths for understanding how to let Redler’s and Dye’s emotional opera soar without weighing it down." __________ "Stage director Joshua Borths exaggerated every comic turn." – Arizona Daily Star The Barber of Seville – "You expect to laugh with Rossini’s 'The Barber of Seville,' but we didn’t expect to laugh as much as we did at Linda Ronstadt Music Hall on Saturday night. Arizona Opera’s uproariously funny new production of 'Barber' took the composer’s ha-ha factor to a whole other level courtesy of a supremely talented cast with the comic timing of veteran sitcom actors...Stage director Joshua Borths exaggerated every comic turn. The chorus danced along as Conductor Roberto Kalb and the orchestra brought out the powerful drama of Rossini's famous overture. Moments into that Act 1 dance, Borths turned on some of the house lights and the chorus looked out into the audience as if they just realized they weren’t alone." __________ "...fresh and clever...effortless..." – Opera Today The Elixir of Love – "Here kudos must be given to director, Joshua Borths, for his fresh and clever staging. This was most evident in the women’s ensemble number, 'Saria possible?'…Their stage entrance by sneaking in and then all heads popping up at once, perfectly synchronized to the orchestration, was purely adorable. And the women looked like they were having a rollicking good time, especially when stuffing their bras with tissue in anticipation of winning Nemorino’s heart. Another standout moment for López, Guidarelli, and Borths was Adina and Dulcamara’s duet, 'Io son ricco e tu sei bella.' Some of the staging required a fair amount of athleticism, which looked effortless." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General

View artist profile - COMPOSER ARTIST WEBSITE INSTAGRAM JAKE LANDAU COMPOSER BIOGRAPHY Jake Landau is an American composer of opera, musical theater, ballet, and instrumental music. His works have been performed by the New York Philharmonic, Houston Grand Opera, and Premiere Division Ballet in venues as diverse as Carnegie Hall, Birdland Jazz Club, and the Royal Palace of Amsterdam. Select works of his have been published by G. Schirmer (Ayres, for SA and piano) and Edition Peters (Hardware Love, for orchestra). Recent significant premieres include Landau’s first opera, Pietà , which debuted in an innovative film format documenting the show’s delayed opening due to Covid and subsequent reading in New York. Filmed in 2020, Pietà went on to win the “Best Music Documentary” laurels at such festivals as The People’s Film Festival, RAGFF New York City, and Malabar Music Festival. The full production of Pietà was mounted in 2021 at The Narnia Festival in Italy with the composer conducting from the piano. His second opera, a companion piece to Purcell’s Dido & Aeneas titled & Aeterna , premiered at the same festival the following year. The opera uniquely combines period performance practice with contemporary compositional ideas, built on a libretto by Landau’s frequent collaborator Emily Garber. READ MORE Between these two operas, Landau’s The Coin Toss was premiered at the legendary Birdland Jazz Club by Broadway star Sam Gravitte (most recently seen as Fiyero in Wicked on Broadway). A song cycle with music, lyrics, and orchestrations by Landau, The Coin Toss garnered the following review from Broadway World: “though one is reluctant to use The S Word, Mr. Landau’s composition is so creative and innovative that one cannot help but be reminded of another musical theater titan whom everyone admires [Sondheim].” Landau’s first musical, Psyche, recently held its first industry presentation in New York, produced by Evan Bernardin Productions. The musical, in which the human characters are sung by belters and the gods by opera singers, has featured stars from Broadway and the opera world including Ciara Renée, Jay Armstrong Johnson, and Elisabeth Stevens. In addition to his composing, Landau is a lyricist, conductor, and Baroque keyboardist. A regular performer of his own works and others’, he has written, arranged, and music-directed concerts for a wide-range of singers from celebrated indie artists to leading Broadway stars at iconic venues like The Duplex, The Greenroom 42, and 54 Below. At age 16, Jake became the youngest person ever accepted to Oscar-, Grammy-, and Pulitzer Prize-winning composer John Corigliano’s studio at The Juilliard School. While writing concert music at Juilliard, Landau worked in premiere pop music studios, experimental queer nightclubs, and as an audition pianist for both opera and Broadway productions. This unique background led him to a sound that at turns explores and ignores genre, in which hit-factory hooks interact with the rigorous architectures found more often in classical music—all in service of a dramatic worldbuilding lifted, in concept, from fantasy novels. After his formative studies with theater composer and lyricist Lawrence Rosen, Landau earned his bachelor’s degree at Juilliard under John Corigliano. One year later, he graduated from Oxford University with a master’s degree and First Class Honours. Landau is the youngest-ever winner of the Walter Hinrichsen Award from the American Academy of Arts and Letters; one of NYFOS’S (New York Festival of Song) “9 under 34” composers; a board member of experimental theater company Off-Brand Opera; a Clarendon Scholar at Christ Church, Oxford University; and an Extension-Division faculty member at Juilliard in New York, where he is based full-time. Current as of August 21, 2023 FULL PRESS KIT LATEST NEWS REPRESENTATIVES LITERARY Aaron Sanko LITERARY Shawn Marie Jeffery

View artist profile - BARITONE ARTIST WEBSITE FACEBOOK INSTAGRAM JONATHAN PATTON BARITONE BIOGRAPHY Praised for his surging voice and compelling stage presence, baritone Jonathan Patton is making his mark on the opera world in a diverse repertoire spanning classical and contemporary works. A native of Durango, Colorado, he is currently in his third season as a Cafritz Young Artist with the Washington National Opera. Jonathan began the 2025-2026 season with his Carnegie Hall début as baritone soloist in Fauré’s Requiem . Also this season, Jonathan débuts with The Metropolitan Opera covering Melot in Tristan und Isolde , and he will make two exciting role and company débuts : the title role in Don Giovanni with Rapides Symphony Orchestra and Escamillo in Carmen with Knoxville Opera. Additionally, he will return to the National Symphony Orchestra as Marco in Gianni Schicchi as part of their Il Trittico trilogy and join Mid-Atlantic Symphony Orchestra as a featured soloist in their Holiday Concert. In the 2024-2025 season, Jonathan took on the title role in the Young Artist performance of The (R)evolution of Steve Jobs by Mason Bates and was featured as Macbeth in WNO’s look-in performance of Verdi’s Macbeth . He also participated in the company’s annual American Opera Initiative, singing the role of Austin in JL Marlor and Claire Fuyuko Bierman’s Cry, Wolf . On the concert platform, Jonathan made his début as Montano in Otello with National Symphony Orchestra. READ MORE Previously with WNO, Jonathan appeared as Pâris in Roméo et Juliette , Don Pedro in Songbird , and Marcello in La bohème , among others. Beyond Washington, he has performed with Opera Southwest, Festival Napa Valley, Des Moines Metro Opera, and The Glimmerglass Festival, where The Wall Street Journal lauded his Martin in Candide as a ”big-voiced standout.” In Summer 2024, Jonathan returned to Glimmerglass to cover the role of John Cree in Kevin Puts’ Elizabeth Cree and debuted as Silvio in a new production of Pagliacci . Other favorite roles performed include Belcore in L’elisir d’amore , Professor Bhaer in Little Women , and Ty (cover) in A Thousand Acres . Jonathan is a winner of the Lewisville Lake International Voice Competition and this year was named a semifinalist in the prestigious Metropolitan Opera Laffont Competition. He holds a Master of Music from the University of New Mexico and a Graduate Artist Certificate from the University of North Texas, where favorite roles included Tarquinius in The Rape of Lucretia and Enrico in Lucia di Lammermoor . Current as of September 4, 2025 CRITICAL ACCLAIM "[Patton] nearly blew the theatre’s roof off..." – Opera News Candide – "This summer’s crop (of young artists) included baritone Jonathan Patton who nearly blew the theatre’s roof off with Candide ’s bitter ‘Words, Words, Words.’” __________ “Big-voiced standout..." – The Wall Street Journal Candide – “Big-voiced standouts…included Jonathan Patton as the pessimist Martin." __________ "Mr. Patton’s buzzy, surging baritone was achingly plangent..." – OperaToday Pagliacci – "One of the most radiant stretches of the evening’s glories was her glamorous vocal partnering with Jonathan Patton for a beauteous rendition of the extended Nedda-Silvio love duet. The lanky, youthful Mr. Patton’s buzzy, surging baritone was achingly plangent, and his nuanced account was distinguished.” __________ "...dense baritone sound..." – Washington Classical Reviews Cry, Wolf – "Jonathan Patton brought a suitably dense baritone sound to his confused, simplistic Austin." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

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View artist profile - Soprano ARTIST WEBSITE FACEBOOK INSTAGRAM SPOTIFY YOUTUBE LAURA AUER Soprano BIOGRAPHY From acoustic stages to international symphony halls, Top 10 Billboard-charting artist Laura Auer (OU-ər) delivers the soaring power of a pop soprano diva with the emotional depth of a tenured singer-songwriter. Her voice—with “pristine high notes” and a velvety, rich lower register—alongside her original songs and modern arrangements of classical hits has even captivated the likes of Disney and led to collaborations with renowned musicians worldwide. Now, with a 36-city U.S. tour ahead, the multi-hyphenate singer-writer-producer weaves her signature sound, heartfelt storytelling, and sweeping orchestral grandeur into an unforgettable experience, transforming everyday music fans into lifelong champions of the fine arts. READ MORE Raised in West Chester, Pennsylvania, Auer didn’t begin singing until just six months before her teacher suggested she audition to study voice in college. She was no stranger to classical music, having played viola in orchestra since childhood, but with no formal vocal training, she famously showed up to her audition as the only one in jeans and could only read sheet music for the viola—yet still earned a place in Pennsylvania State University’s prestigious Vocal Performance program. There, she quickly gained a reputation as a “Ferrari” for mastering vocal technique at an extraordinary pace, though her artistic curiosity led her far beyond the traditional opera stage. She sang nightly in a rock cover band, two a cappella groups, and quietly began building a parallel career as a recording session singer. To this day, Auer’s voice is featured on over 50 commercial albums and three original off-Broadway soundtracks. In 2012, she signed her first original band, Soul Kitchen Collective, to House Records, which propelled her to begin writing songs for herself as a solo artist. In 2014, performing under her family name on her mother’s side, Laura Promiscuo, she released her debut album Chasing Down the Dream , won The Philadelphia Songwriters Contest, and toured nationwide through 2016. A move to Los Angeles led to collaborations with three-time Grammy-winning producer Tim Sonnefeld, who crafted her pop songs with mid-tempo world-beat percussion and dark, cinematic strings, coining her genre-blending orchestral pop sound as “popra.” Auer cites artists like Sting, Sade, Bond, and Ofra Haza as major influences for her work at this time. A pivotal moment came in 2018 when the executive producer of Disney’s Mulan expressed interest in featuring one of Auer’s original songs in the live-action film’s soundtrack. Though the studio ultimately went in a different direction for the title track, it sparked a new creative era for Auer; she began writing more songs in a “Disney-esque” style and partnered with composer Jaron Samuel to form the songwriting duo Jaron & Auer. Together, they developed an original animated musical feature based on Auer’s voice and personal journey, for which she then wrote the screenplay and recorded the lead character—launching her as an exciting multi-hyphenate with ongoing work in music-driven storytelling. A quieter yet equally transformative moment came during the pandemic, when Auer realized a crucial part of her artistry had been missing—her classical soprano voice. She returned to her roots, training with Maestra Capucine Chiaudani of Italy’s Mediterranean Opera Studio, and rediscovered the bel canto singing style: a lyrical, light, and beautifully expressive Italian tradition. This epiphany became SEASONS , a four-part album series highlighting her newly refined vocal elegance with fresh arrangements of both traditional operatic repertoire and popular covers. The results have been electric. Spring led to international stages, including a multi-month residency with Taiwan’s premiere Evergreen Symphony Orchestra for Disney’s Fantasy Symphony Live Tour. Summer debuted at #8 on the U.S. Billboard Classical Crossover chart, featuring collaborations with acclaimed artists such as Boyd Meets Girl and operatic tenor John Riesen, who now costars with Auer in their new live touring show (detailed below). Autumn unveiled a lyrical reimagining of the Irish classic “Carrickfergus” alongside renowned Celtic flutist Michael McGoldrick, and Winter —the series finale featuring her most popular track to date, a cover of “In Dreams” from The Lord of the Rings —has earned Auer over one million Spotify streams. Now gaining recognition as “the voice of pop-classical for today’s mainstream audiences,” Laura Auer stands at the intersection of opera, pop, world music, and film—as an artist who has always paved her own way. She brings audiences along on this journey in her new live duo concert experience, Aria Nouveau (-an ode to her personal appreciation for “art nouveau”) with tenor John Riesen, featuring duets from her SEASONS album series. Reviews are in, and the duo is set to dazzle audiences on tour across the U.S. in 2025 and 2026. Current as of September 12, 2025 CRITICAL ACCLAIM "...a musical wizard..." – Purple Throne Music Magazine "Laura is a musical wizard. A moment like this, in which we get to witness the blossoming of a new talent, is what makes us truly happy in promoting artists.” __________ “Laura’s voice soars...” – The Chestnut Hill Local “Laura’s voice soars with pristine clarity." __________ "[Laura is] turning [the Classical genre] on its head..." – Classical Crossover Magazine “Classical crossover, we tend to think of it as these big voices…and maybe their adding some beats or something to it…but what (Laura) has done with the vocals is, it’s kind of scaled back, maybe a bit more breathy, and it’s turning that that idea on its head, and that’s what gives this genre the ability to grow.” __________ "[Laura] sings like an angel!” – Music Training Center “Laura Auer has a beautiful and stunning voice. She sings like an angel!” __________ "...breathtaking..." – Uptown Performing Arts Center "[Laura] captivated us all with her breathtaking performance, blending world-class vocals with unforgettable emotion. The energy in the room was electric, and this debut was nothing short of spectacular. Here’s to the beginning of something truly extraordinary! Thank you for gracing our stage” __________ "I was...mesmerized, captivated, and enthralled..." – Lyceum Music Hall “The word ENCHANTED does not aptly describe my experience, for I was also mesmerized, captivated, and enthralled as I watched Laura Auer perform some of the most beautiful songs I ever heard!” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris Pops

View artists profile - BARITONE ARTIST WEBSITE INSTAGRAM FACEBOOK YOUTUBE CHRISTOPHER JOB BARITONE BIOGRAPHY Praised for his “commanding sonority’’ (Opera News) and described as “handsome, agile and with a voice to match” (Boulder Daily Camera), Bass-Baritone Christopher Job is a “rising star on the American opera scene.” (Grand Junction Free Press) A house favorite at The Metropolitan Opera since the beginning of his career, he has been featured in fourteen of their “Live in HD” broadcasts, and has appeared in numerous other productions such as Tosca , Rigoletto , Madama Butterfly , La Traviata , Don Carlos , Der Rosenkavalier , Medea , Roberto Devereux , Werther , Macbeth , Un ballo in maschera , La Forza del Destino , Roméo et Juliette , La Rondine, The Magic Flute , Dead Man Walking , and The Nose ; among others. Several of these productions can be found on DVD, including his Grammy-Nominated recording of Der Rosenkavalier , and he was also featured on their 50th Anniversary Lincoln Center Gala . Job recently continued his tenure at The Met, opening their 2024-2025 season with Grounded , followed by Tosca , Rigoletto , The Magic Flute , Die Zauberflöte , Fidelio, Le nozze di Figaro , Salome , and The Queen of Spades . On the concert stage, Mr. Job returned to Carnegie Hall to sing Handel’s Messiah and Freihold in Strauss’ Guntram . This season, he returns to The Metropolitan Opera to sing Fouquier-Tinville in Andrea Chénier , Marquis d’Obigny in La traviata , and First Priest in The Magic Flute . READ MORE He recently made his L.A. Philharmonic debut under the baton of Esa-Pekka Salonen, and then returned for his Hollywood Bowl debut in Verdi's Otello with Gustavo Dudamel. As a Southern California native, Mr. Job was thrilled to make his L.A. Opera debut in La Traviata under James Conlon. Soon after, he joined Yannick Nézet-Séguin and the Philadelphia Orchestra in Vail, Colorado to perform Puccini's Tosca , followed by recording Handel's Messiah with the Royal Philharmonic at the famed Abbey Road Studios in London. Other notable credits include engagements with New York City Opera, Minnesota Opera, Virginia Opera, Palm Beach Opera, Opera Colorado, Central City Opera, Glimmerglass Opera, Lyric Opera Baltimore, Des Moines Metro Opera, Chautauqua Opera, Charlottesville Opera, Princeton Festival, Odyssey Opera, Opera Idaho, Opera Fort Collins, Williamsburg Opera and Fargo-Moorhead Opera, singing roles such as Escamillo ( Carmen ), Figaro ( Le nozze di Figaro ), Leporello ( Don Giovanni ) , Olin Blitch ( Susannah ), Dulcamara ( L'elisir d'amore ), Alidoro ( La Cenerentola ), Colline ( La Bohéme ), among many others. He created the role of Senator Thomas Jordan in the world première of Pulitzer Prize-winner Kevin Putz’ The Manchurian Candidate with Minnesota Opera, and was seen as Aguirre in the U.S. Premiere of Wuorinen's Brokeback Mountain with New York City Opera. Mr. Job made his Italian debut at the Teatro Comunale di Bologna as Sparafucile in Rigoletto and Il Podestà in Rossini’s La Gazza Ladra . He made his French debut as Alidoro in La Cenerentola with Le Festival Lyrique de Belle-Île En Mer. An experienced concert artist, Mr. Job has performed at the Palau de la Musica Catalana in Barcelona, Spain, as well as numerous performances at Carnegie Hall, Avery Fisher Hall, and the Walt Disney Concert Hall. He is in high demand for his interpretations of Handel's Messiah , Beethoven's 9th Symphony and Verdi's Requiem . Spanning into the musical theater repertoire, Mr. Job was featured as the opening workman soloist in the pre-Broadway production of Bernstein’s On The Town at Barrington Stage Company under the direction of Tony-Award winning director John Rando and Emmy-Award winning choreographer Joshua Bergasse. Under the baton of Rob Fisher, he has performed at Lincoln Center’s Avery Fisher Hall with the New York Philharmonic, where he was featured in the Cockney Quartet in My Fair Lady , sharing the stage with Kelli O’Hara, Kelsey Grammer and Brian Dennehy. He recently took on the dynamic roles of the Wolf and Prince in Sondheim's Into the Woods with Charlottesville Opera. Mr. Job is a Grand Prize Winner of the Denver Lyric Opera Guild Competition, and a second place winner of The Metropolitan Opera National Council auditions for both the Upper Midwest Region and the Rocky Mountain Region. He received his Masters degree in Vocal Performance from Northwestern University and his undergraduate degree in Vocal Performance from Cal State Fullerton. Current as of September 18, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony Aaron Sanko Film/TV/Theatre CRITICAL ACCLAIM "...sings stunningly well..." – The Daily Progress Susannah – “Christopher Job sings stunningly well as Olin Blitch.” __________ "...commanding authority..." – Opera News Così fan tutte – “The power figure Caronte drew commanding authority from Christopher Job.” __________ "...sang with bold conviction and penetrating musicality...” – Boston Classical Review Dimitrij – “Christopher Job as leader of the Tsar’s army, sang with bold conviction and penetrating musicality.” __________ "...renews our sense of amazement in the human voice..." – Grand Junction Free Press Beethoven’s Symphony No. 9 – “Christopher Job renews our sense of amazement in the human voice and its ability to make music.” __________ "...a standout..." – Oenida Daily Dispatch I Capuleti e Montecchi – “Bass, Christopher Job, a standout last summer at Glimmerglass as Caronte in Monteverdi’s L’Orfeo was a strong Capellio.”

View artist profile - BARITONE ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE DANIEL RICH BARITONE BIOGRAPHY Baltimore-born baritone Daniel Rich is a recent graduate of The Metropolitan Opera’s prestigious Lindemann Young Artist Development Program. In the 2025-2026 season, Mr. Rich will make his début in the role of Amonasro in Aida with Anchorage Opera, return to The Metropolitan Opera for their productions of Arabella and El último sueño de Frida y Diego , and appear with Winston-Salem Symphony for their concert of Handel’s Messiah . His 2024-2025 season included débuts with Opera Philadelphia as both the Dillon and Paul covers in Mazzoli’s The Listeners , as well as The Atlanta Opera as Raymond in the premiere of Ragland’s Steele Roots . He also returned to The Metropolitan Opera as the 2nd Nazarene cover in Strauss’ Salome , and he débuted with Opera Delaware and returned to Opera Baltimore with his role début of Marcello in La Boheme . Daniel’s concert work included a tour of Angela Rice’s Thy Will Be Done with Compose Arts, Handel’s Israel in Egypt with New Choral Society, and two recitals for Opera Baltimore and Redeemer Westside. READ MORE In recent seasons, he appeared at The Metropolitan Opera as Pâris in Roméo et Juliette and Chester in Terence Blanchard's Fire Shut Up in My Bones . Mr. Rich made his Met début during the 2022–23 season as a Waiter in Der Rosenkavalier and covered the Count of Lerma in Don Carlo . In 2024, he made his company début at Des Moines Metro Opera, where he appeared as the First Nazarene and covered Jochanaan in Salome , and sang Willie McDonald in the premiere of Damien Geter and Lila Palmer’s American Apollo . Other operatic engagements include Masetto in Don Giovanni at Wolf Trap Opera, Valentin in Faust at Opera Baltimore, and various roles in Rhiannon Giddens and Michael Abels's Pulitzer Prize-winning opera Omar , including its world premiere at the Spoleto Festival in 2022 and revival at Carolina Performing Arts in 2023. On the concert stage, he has appeared as a featured soloist in Beethoven's Ninth Symphony with Alexandria Symphony Orchestra, Brahms’ Requiem with Capitol Singers of Trenton, Orff's Carmina Burana with both the Richmond Symphony and Berkshire Choral International, and a concert of sacred music by Mary Lou Williams and Duke Ellington with the Los Angeles Master Chorale at Walt Disney Concert Hall, among others. He made his Carnegie Hall debut in 2019 as a soloist in Vaughan Williams's Serenade to Music under the baton of Leonard Slatkin and returned to Carnegie Hall in January of 2025 as a soloist for the premiere of Sir Karl Jenkins’ One World . In 2025, he was named the third-place winner of the Partners for The Arts Vocal Competition. Other competition wins include second-place winner of Opera Columbus’ Cooper-Bing Competition, first-place winner of the George Shirley Vocal Competition, emerging artist winner of the inaugural Duncan Williams Vocal Competition, second-place winner in Opera Ebony’s Benjamin Matthews Vocal Competition, first-place winner in the Black Brilliance Art Song Competition, and first-place winner in The Mario Lanza Institute Vocal Competition. Daniel has found early success as a concert artist and recitalist performing for organizations such as Baltimore Musicales, Coalition for African Americans in the Performing Arts, and Harlem Opera Theatre to name a few. In addition to his extensive performance experience, he has worked as a music educator in public schools, and, in the fall of 2025, he will return for his second year as an adjunct professor of voice at the University of Maryland-Baltimore County. He holds degrees from Morgan State University and Manhattan School of Music, where he received the Edgar Foster Daniels Scholarship in Voice. Current as of July 1, 2025 CRITICAL ACCLAIM "...impressive versatility with contemplative spoken word…” – San Francisco Classical Voice Will You Be There/Ain’t but the One – Baritone Daniel Rich showed impressive versatility with contemplative spoken word (in Ellington’s “Will You Be There/Ain’t but the One”) and jubilant gospel belts (in Williams’s “The Lord Says”). __________ "...Rich was suitably repulsive..." – Bachtrack Fire Shut Up In My Bone – “In the demanding role of Chester, the malevolent older cousin who molests the seven-year-old Charles, baritone Daniel Rich was suitably repulsive.” __________ "...smoothly sung and powerfully manipulative performance..." – Parterre Fire Shut Up In My Bone – “The traumatic experience that haunts the younger Charles is sexual abuse at age seven by his older cousin Chester (Daniel Rich in a smoothly sung and powerfully manipulative performance).” __________ "...Rich’s tone is round and soulful, effortlessly guiding us along with him..." – Charleston City Paper My Tribute – "Daniel Rich then took the stage with a powerful, tear-jerking rendition of Andrae Crouch’s “My Tribute.” A baritone soloist, Rich’s tone is round and soulful, effortlessly guiding us along with him. Met with raised hands, applause, and “Amens” throughout, his belts received the second standing ovation of the night." __________ "...made a burly Masetto..." – Washington Classical Review Don Giovanni – “Local favorite Daniel Rich, a Baltimore baritone who trained at Morgan State University, made a burly Masetto" __________ "...had his finest moments in the floating falsetto..." – Washington Classical Review Carmina Burana – Baritone Daniel Rich had his finest moments in the floating falsetto roulades of “Dies, nox et omnia.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

View artist profile - TENOR ARTIST WEBSITE INSTAGRAM FACEBOOK ERRIN DUANE BROOKS TENOR BIOGRAPHY Grammy Award-winner Errin Duane Brooks is becoming one of the most sought-after tenors in the industry. Last season, Mr. Brooks returned to The Metropolitan Opera to sing the First Priest/Armored Man in Simon McBurney’s Die Zauberflöte ; he sang Pinkerton in Divaria Productions’ Madama Butterfly ; he joined the Minnesota Orchestra to sing Altoum in Turandot ; the University of Michigan for Scenes from the Life of a Martyr ; and the Philadelphia Orchestra to cover the title role in Tristan und Isolde under the baton of Yannick Nézet-Séguin. This summer, Mr. Brooks heads to Opera på Skäret in Sweden to sing Calaf in Turandot , and he begins this season with his French début in a reprisal of his acclaimed Otello with Opéra national du Rhin in Strasbourg. Mr. Brooks will also make a highly anticipated return to The Metropolitan Opera to reprise the role of Mingo in Porgy and Bess . Mr. Brooks’ is a frequent guest artist with The Metropolitan Opera having covered the title role in Verdi's Otello , Calaf in Puccini's Turandot , as well as sung the First Armored Man in Mozart's Die Zauberflöte , the First Noble in Wagner’s Lohengrin , the High Priest in Mozart's Idomeneo , Normanno in Lucia di Lammermoor , and Adult Nathan in Terrence Blanchard's Fire Shut Up in My Bones both in the premiere as well as the reprisal. READ MORE He also made several débuts, his role début as Bacchus in Strauss' Ariadne auf Naxos in house débuts with both Vashon Opera and Lakes Area Music Festival; his role début as Otello with Vashon Opera; his company début with Des Moines Metro Opera as Robbins in Porgy and Bess ; and his off-Broadway début as Mr. Charles in Ricky Ian Gordon and Lynn Nottage's Intimate Apparel at Lincoln Center Theater. He also joined Hudson Valley International Festival of the Voice to sing Canio in Pagliacci , Rodolfo in Puccini's La bohème with Port Angeles Symphony, and Connecticut Lyric Opera to sing Tristan in Tristan und Isolde . An avid fan of new music and great music that is rarely done, Mr. Brooks was part of The Mile-Long Opera: a biography of 7 o'clock by Pulitzer Prize-winning composer David Lang and acclaimed poets Anne Carson and Claudia Rankine, performed on New York’s High Line. He made his much-anticipated return to New Amsterdam Opera as Jean de Baptîste in Massenet's Hérodiade, and that same month, he made his début with American Opera Projects in their world premiere of The Stonewall Operas , celebrating the 50th anniversary of the Stonewall riots. Mr. Brooks is also becoming well versed in concert repertoire, performing in such works as the Schoenberg arrangement of Mahler's Das Lied von der Erde with Washington Heights Chamber Orchestra; Brahms’ Liebeslieder Waltzes with the National Chorale at David Geffen Hall; Haydn's Lord Nelson Mass , Vaughan-Williams’ Serenade to Music , and Bernstein's Chichester Psalms at Carnegie Hall; Mozart’s Symphony No. 23 in D Major with Orchestra Society New Jersey; and Verdi’s Requiem with Utah Festival Opera. Competition successes for Mr. Brooks include The Sullivan Foundation Awards, the Wagner Society of New York, the Giulio Gari Foundation International Voice Competition, and most notably, earning the George London-Kirsten Flagstad Grand Prize Award for promising Wagnerian Singer in the George and Nora London Foundation Competition. Graduating with honors, Errin Duane received his Bachelor of Music in Vocal Performance with a minor in Business from Madonna University, his Master of Music in Vocal Performance from Bowling Green State University, and an Artist Diploma in Opera from Roosevelt University. Current as of June 17, 2025 CRITICAL ACCLAIM "...His is a truly powerful dramatic tenor that has tremendous volume and stability..." – OperaWire Hérodiade – Tenor Errin Duane Brooks also put in a truly mesmerizing turn as the prophet Jean. While there were a few moments where he seemed overly fixated on his score instead of his scene partners, the tenor shone vocally the entire night. His is a truly powerful dramatic tenor that has tremendous volume and stability. From his first cries of “Jézebal” at the start of the opera, it was clear that his instrument was a truly special one and he never once relented in delivering with the same level of power and precision. __________ "...muscular musical portrayals that stood out... " – OperaWire Die Zauberflöte – Richard Bernstein and Errin Duane Brooks were excellent as the Priests and the Armed Men, both delivering muscular musical portrayals that stood out from amidst the cast; they also found a nice balance when singing together. __________ "...Brooks’ Alvaro was all passion as his voice boomed fully... " – OperaWire La Forza del destino – A showstopping tenor... From his first entrance, it was obvious that Brooks’ Alvaro was all passion as his voice boomed fully with all the ardor as Alvaro declared his love for his Leonora. Even in the slower section of the first duet with Leonora, Brooks’ had no qualms in letting out his full voice. And that was even more evident in his aria “Oh! tu che in seno agl’angelli.” Where more tenors would begin quietly with mezza voce, Brooks sang each line with a mezzo forte sound that would eventually rise to a fortissimo on his final high B flat at the end of the aria. The effect was magnificent... And the B flat at the end was sustained, giving the aria a showstopping quality. In the second duet “Ne Gustare m’e dato un’ora di quiete” the voice was heroic allowing it to project throughout the auditorium... that desperation was heard as he phrased each note with forceful and accented sound. FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

View artists profile - BARITONE ARTIST WEBSITE GORDON HAWKINS BARITONE BIOGRAPHY Gordon Hawkins is critically acclaimed throughout the world for his in-depth interpretations and lush baritone voice. A dramatic baritone with an international reputation as a “Rigoletto specialist,” Mr. Hawkins has delighted audiences as the tragic Verdi underdog in more than 200 performances, most recently with the Deutsche Oper am Rhein, Vancouver Opera, Washington National Opera, Arizona Opera, and Opera Colorado. He is now earning critical acclaim as a Wagner specialist: “Alberich was superbly realized by baritone Gordon Hawkins, in his [Los Angeles Opera] début. Despite wearing a grotesque puppet head and clunky boots that hobbled his movements, Hawkins delivered a sterling vocal characterization of the power-mad Nibelung.” ( Opera News ). He has been engaged as Alberich in Wagner’s Der Ring des Nibelungen at esteemed international companies including San Francisco Opera, Los Angeles Opera, Seattle Opera, Washington National Opera, Deutsche Oper Berlin, Teatro de la Maestranza de Sevilla, and the BBC Orchestra at Royal Albert Hall in London. Last season, Mr. Hawkins returned to Arizona Opera to sing Benoit and Alcindoro in La bohème . In addition, Mr. Hawkins recently created the role of the Reverend in the world premiere of Jeanine Tesori and Tazewell Thompson’s Blue at The Glimmerglass Festival, which received rave reviews. He also recorded the piece with Washington National Opera, with critic Ralph P. Lock saying, “The one big name in the cast is Gordon Hawkins, a world-renowned Porgy, Rigoletto and Alberich, who here establishes a rock-solid presence as The Reverend." He reprised the role with Detroit Opera, Toledo Opera, Pittsburgh Opera, Seattle Opera, and most recently with New Orleans Opera. READ MORE Other recent engagements include his role début as Alphonse in Frankenstein with Arizona Opera, Tonio in Pagliacci with San Antonio Opera, and his return to the Lyric Opera of Chicago for the world premiere of Proximity , a project he assisted in creating during its workshop. Mr. Hawkins’ career is shaped by performances of opera’s most popular baritone roles at leading companies throughout the world. With an impressive repertoire under his belt, some of Mr. Hawkin’s prominent roles include: Amonasro in Aïda , which he has performed with Lyric Opera of Chicago, Washington National Opera, Houston Grand Opera, Seattle Opera, Cincinnati Opera, Detroit Opera, and The Atlanta Opera; Scarpia in Tosca with Cincinnati Opera, Lyric Opera of Kansas City, Vancouver Opera, Portland Opera, and Arizona Opera; Nabucco with Seattle Opera and Opera Carolina; and Macbeth also with Seattle Opera. Additional favored engagements have included Thoas in Iphigénie en Tauride with The Metropolitan Opera; The Warden in Dead Man Walking with Lyric Opera of Chicago; Alvaro in Florencia en el Amazonas with Los Angeles Opera; Alfio in Cavalleria rusticana with Washington National Opera; Conte di Luna in Il trovatore with Seattle Opera; Tonio in Pagliacci with Arizona Musicfest; and Renato in Un ballo in maschera with New Orleans Opera and Opéra de Montréal. Internationally, Mr. Hawkins has performed at venues such as Deutsche Oper Berlin as Telramund in Lohengrin , Teatro de la Maestranza in Seville as Caspar in Der Freischütz , and New National Theatre Tokyo as the Villians in Les contes d’Hoffmann . One of his signature roles, Porgy in Gershwin’s Porgy and Bess has brought him to some of the most esteemed companies and symphonies in the world, including the Lyric Opera of Chicago, Washington National Opera, Seattle Opera, Detroit Opera, The Dallas Opera, Cincinnati Opera, Toledo Opera, Colorado Symphony, San Francisco Symphony, San Francisco Opera, Jacksonville Symphony, Festspillene i Bergen in Norway, and the Sinfonieorchester St. Gallen. An accomplished concert artist, some favorite engagements of recent seasons include a gala concert for Justice Ruth Bader Ginsberg in Washington DC; a recital entitled War and Remembrance at The Clarice Center for the Performing Arts; Amonasro in Aida with St. Louis Symphony; Vaughan Williams’ A Sea Symphony with The Washington Chorus at the Kennedy Center; the world premiere of Jake Heggie’s A Great Hope Fell with the Eos Orchestra of New York; Beethoven’s Symphony No. 9 with The Atlanta Symphony and St. Louis Symphony; concert selections from American musicals with Welle WDR 4 in Cologne, Germany; and additional repertoire with the Chicago Symphony, National Symphony, the Baltimore Symphony, Cincinnati Symphony, National Theatre Orchestra of Prague, and Vienna Symphony. Mr. Hawkins has been heard on the Live BBC Radio broadcast as Alberich in Götterdämmerung with the BBC Symphony Orchestra at the Royal Albert Hall and “Live from the Metropolitan Opera” broadcasts earlier in his career as Marcello in La bohème with Plácido Domingo and Mirella Freni and Silvano in Un ballo in maschera with Luciano Pavarotti and Aprile Millo. He can be heard as George Milton on the first recording of Carlisle Floyd’s Of Mice and Men with the Houston Grand Opera on Albany Records and the recording of Simon Boccanegra as the title role with the New Zealand International Festival of the Arts. Mr. Hawkins was a winner of the Metropolitan Opera National Council Auditions and the Luciano Pavarotti International Vocal Competition, and he was awarded the Washington National Opera’s “Artist of the Year” award. Current as of September 1, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...a masterly Nabucco, with convincing acting in a role that requires him to be overbearing, then feeble, then contrite..." – The Seattle Times Nabucco – “Gordon Hawkins is a masterly Nabucco, with convincing acting in a role that requires him to be overbearing, then feeble, then contrite (it’s not often that an operatic title character is struck by lightning). Even allowing for the effects of the lightning strike, Hawkins’ voice…rose to greatness in his final scene.” __________ "...an imposing presence throughout [...] Hawkins adapts himself with ease..." – Daily Camera Rigoletto – “Baritone Gordon Hawkins is an imposing presence throughout, whether playing the titular jester as a vicious, mean-spirited trickster, as in the opening scenes; or as the humiliated fool who unwittingly assists in his daughter’s kidnapping and defilement, or as the ultimate tragic figure whose triumphant vengeance is instantly transformed to utter despair at the end. When he needs to be tenderer, as in his gorgeous duets with soprano Rachele Gilmore, who plays Rigoletto’s daughter Gilda, Hawkins adapts himself with ease. Hawkins clearly considers this a signature role, and it shows.” __________ "...you’re in the clutches of one unforgettably sinister badass." – Straight.com Tosca – “Scarpia is arguably the most wretched villain in all of opera, and from the minute shaven-headed baritone Gordon Hawkins first cuts a swath onto the stage, you know you’re in the clutches of one unforgettably sinister badass. His eyes even roll ecstatically back into his head in the first act as he imagines forcing the raven-haired title character to sleep with him.” __________ "...Hawkins delivered a sterling vocal characterization of the power-mad Nibelung." – Opera News Das Rheingold – “Alberich was superbly realized by baritone Gordon Hawkins, in his LAO debut. Despite wearing a grotesque puppet head and clunky boots that hobbled his movements, Hawkins delivered a sterling vocal characterization of the power-mad Nibelung.” __________ "...nearly stole the show all evening." – The New York Times Das Rheingold – “None of this would matter, though, without the powerful singing of the baritone Gordon Hawkins as Alberich, who nearly stole the show all evening.”

View artist profile - COMPOSER ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE JOHANNY NAVARRO COMPOSER BIOGRAPHY Johanny Navarro, a dynamic Puerto Rican composer, stands out as one of the most inventive artists of her generation. Her creative prowess has captivated prominent musical figures and institutions, including soloists Elisa Torres, Luis Miguel Rojas, and Andrea González Caballero, as well as esteemed organizations like the Multicultural Music Group, Inc. and the Boston Opera Collaborative. Her compositions have been presented by ensembles including The Catholic University of America Symphony Orchestra, the American Harp Society, Inc., the New World Symphony, America’s Orchestral Academy, the Victory Players, and Coralia from the University of Puerto Rico. In a highly anticipated upcoming season, Navarro is set to create a children’s opera series for the Olga Iglesias Project and an SATB choral work for California State University, Bakersfield. In addition, Navarro is currently a resident artist with American Lyric Theater in New York, where she has premiered The Magic Cabbage with librettist Joshua Banbury and Working for the Macbeths with librettist Marcus Yi. READ MORE Navarro has also made waves internationally, with performances in Cuba, Mexico, Spain, and France. In 2020, she was featured as a resident artist at the Massachusetts International Festival of Arts (MIFA), and her piece Celebration was included in the prestigious Casals Festival. Her opera ¿Y los Pasteles? , an Ópera Jíbara in two acts, garnered the Discovery Grant (2020) from Opera America, premiering in July 2022 in San Juan, Puerto Rico. Additionally, in 2023, Navarro was honored as a Latino Leader by Nissan, as presented in Time Magazine . Moreover, Navarro's Celebration (2016), a vibrant piece for piano trio, was selected by The Arts Club of Washington D.C. as a commemorative work for its centenary celebrations. Her choral and orchestral masterpiece Videntes Stellam (2016) made a its debut at the Basilica of the National Shrine of the Immaculate Conception in Washington D.C. and was broadcasted on EWTN. This colorful work marked her debut with the Puerto Rico Symphony Orchestra, under the baton of maestro Roselín Pabón at the José Miguel Agrelot Coliseum. Her chamber opera Frenesí (2017) first premiered in Washington D.C., and by the following year, it graced the stage of the Bertita y Guillermo L. Martínez Theater at the Puerto Rico Conservatory of Music. In 2019, it found a new home in an opera al fresco setting at the Ballajá Barracks in Viejo San Juan, courtesy of The Opera Theater. This success led Navarro to the Puccini International Opera Composition Course in Lucca, Italy, where she received mentorship from renowned composer and director Giralomo Deraco. In 2021, her second chamber opera, Redención (2019), debuted at the Puccini Chamber Opera Festival in Italy. Johanny Navarro rich catalog of works continues to grow, showcasing an undeniable variety and its deep roots in Caribbean musical aesthetics, especially Puerto Rican musical culture. Current as of September 1, 2024 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery Vice President | Classical & Creatives Aaron Sanko CEO & Partner | Theatre, Film, TV & Literary