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

View artists profile - BASS ARTIST WEBSITE FACEBOOK INSTAGRAM SERGIO MARTINEZ BASS BIOGRAPHY Colombian bass Sergio Martinez has been praised nationally and internationally for his charismatic stage presence and voice of “cavernous resonance and…power” ( OnStage Pittsburgh ). As a member of Washington National Opera’s distinguished Cafritz Young Artist Program, Mr. Martinez received extensive acclaim as a featured performer in both their American Opera Initiative and mainstage productions, most notably for his portrayals of Frère Laurent in Romeo et Juliette and Baloo in Kamala Sankaram and Kelly Rourke’s The Jungle Book . This season, Mr. Martinez joins the Metropolitan Opera roster covering Lodovico in Otello and Angelotti in Tosca . He’ll also début with Boston Lyric Opera as Walter Furst in William Tell , Austin Opera as Palémon in Thaïs , Annapolis Opera as Sparafucile in Rigoletto , and Berkshire Opera as Alidoro in La Cenerentola . Last season, Mr. Martinez made house débuts at Virginia Opera as the King of Egypt in Aida and Opera Southwest in Dolores . He also returned to The Glimmerglass Festival to sing the roles of Sagrestano in Tosca and Papa Cordero in their premiere of The House on Mango Street . READ MORE Mr. Martinez recently made several company débuts across the country, joining Des Moines Metro Opera as the Second Soldier in Salome , portraying Zuñiga in Detroit Symphony Orchestra’s production of Carmen , and joining the Spoleto Festival to sing the role of Palémon in Thais . In addition, he portrayed the role of Osvaldo in Washington National Opera’s AOI presentation of Tati , a new commission by Kyle Brenn and Lex Brown. Mr. Martinez’s other notable engagements as a Cafritz Young Artist at Washington National Opera include a Look-In performance of Banquo in Macbeth , in addition to appearances as the Judge Advocate General in the world premiere of Grounded and the Innkeeper/Ox in The Lion, Unicorn, and Me . Moreover, his engagements at The Glimmerglass Festival include Frère Laurent in Romeo et Juliette , Zuñiga in Carmen , and covering Don Petronio in Tenor Overboard . Mr. Martinez’s repertoire further includes roles like Sparafucile in Rigoletto , Basilio in Il Barbiere di Siviglia , Collatinus in The Rape of Lucretia , Colline in La Bohème , and Theseus in A Midsummer Night’s Dream . In 2023, Martinez composed, produced, and performed his first opera in four acts entitled ¡Dime! in collaboration with librettist Bailey Merlin. In addition, Martinez recently premiered three of his newest compositions: Mestizaje (mezzo-soprano and piano), Mundane (bass voice, electronics, and piano), and Canciones Campesinas (bass voice and piano). Mr. Martinez graduated with his MM from the University of Illinois at Urbana-Champaign. During his time in Illinois, Martinez was the recipient of the Stotler Fellowship, the Golden Lyre Award, and the Sara de Mundo Lo Award. Mr. Martinez also graduated with his MMA in opera from Yale University, where he was awarded the prestigious Phyllis Curtin Award. He also received first prize and the Linus Lerner prize at the first international singing competition of Colombia. Current as of May 1, 2026 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...a bass voice of cavernous resonance and...power" – OnStage Pittsburgh Sparafucile – "Martinez possesses a bass voice of cavernous resonance and carrying power." __________ "Martinez...[had] a preternatural command of [Zuñiga]" – Nippertown Carmen – "Sergio Martinez was another understudy who went on...as Zuñiga and had a preternatural command in the role…" __________ "...an imposing bass..." – The Wall Street Journal Romeo et Juliette – "Sergio Martinez displayed an imposing bass as Friar Lawrence." __________ "Sergio Martinez...[gave] an excellent retelling of the famous aria La calumnia" – Scherzo Barber of Seville – "El encargado de Don Basilio fue Sergio Martínez quien hizo una excelente recreación de la famosa aria de la calumnia." __________ "...sturdy Bass..." – Washington Post A Way Forward – "The sturdy Bass of Sergio Martinez served the financially stressed patriarch Gabriel well."

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

View artist profile - BARITONE ARTIST WEBSITE FACEBOOK INSTAGRAM TWITTER LUCIA LUCAS BARITONE BIOGRAPHY Named one of the top voices of 2023 by Operawire, Lucia Lucas' voice has been described as “a voluminous, incredibly beautiful, warm, deep baritone, which she can also use crisply and forcefully…” (Süddeutsche Zeitung). Trained by Richard Stilwell, she is an alum of The Santa Fe Opera apprentice program, Chicago Opera Theater, and The Deutsche Oper Berlin. Her core repertoire includes heldenbariton and full lyric baritone with such roles as Wotan, Holländer, Telramund, Rigoletto, Ford, Macbeth, Iago, and Renato. This summer, she reprises the title role in Lili Elbe in the American premiere with Santa Fe Opera, a role in which she originated last year at the Theater St. Gallen in Switzerland. The production won “Best World Premiere” at the 2024 Oper! Awards, and Lucia’s performance was described by Tagblatt as “…sung in a ravishing and extremely multifaceted manner.” Future seasons will bring her back to Verdi with Rigoletto and Otello as well as another soon to be announced world premiere. Most recently, Lucia made many important house débuts at The Metropolitan Opera, English National Opera and her house début at Lyric Opera of Chicago in the world premiere of Proximity with Caroline Shaw and Yuval Sharon directing. In addition, her portrayal of Gretch in The Met HD series was broadcast around the world and can still be viewed with Met Opera on demand. READ MORE ILucia made a triumphant début in the title role of Don Giovanni with Tulsa Opera, with Tulsa World exclaiming, “In the title role, Lucia Lucas is nothing short of a revelation. She possesses a voice that can rattle the rafters with its power, without ever sacrificing subtlety of expression. It is a voice filled with character in every sense of the word.” Moreover, Lucia’s international career has led her to London, Dublin, Torino, Berlin, NYC, Chicago, San Francisco, Houston, and Daegu Korea. Lucia performs in various art and fringe festivals and prides herself on multidisciplinary projects. During the pandemic she produced multiple opera music video shorts which were part of Wuppertaler Bühnen’s award winning digital season. Also during this time, she wrote and performed a German Radioplay based on her blog writings entitled “Die Arbeit an der Rolle” (originally “How to efficiently learn a role”). This scripted radio play won the Hörspielpreis der Kriegsblinden 2022. She was also featured on GRAMMY.com ’s TRANScendent Sounds 2022 with another music video of her creation. Born and raised in Sacramento, CA, Lucia was primarily an instrumentalist until college. After dual majoring in voice and french horn, she moved to Chicago focusing solely on voice for her Masters and Artist Diploma. Current as of October 6, 2025 CRITICAL ACCLAIM “... Lucas is in her element…” – Musical America The World’s Wife – “Lucas is in her element, too. Green's revised vocal writing draws on both her dark, resonant lower range as well as her heroically hefted upper register. Whether whispering, belting out top notes, or floating up to a comfortable falsetto, she's entirely unfazed. She also displays a tangible understanding of the text and its myriad meanings. Take, for example, her warm portrayal of the widowed Anne Hathaway, imagining Shakespeare had "written her, the bed a page beneath his writer's hands." She's powerful as well as Mrs Beast, rattling through a catalogue of women dealt unplayable hands, from the Little Mermaid to Princess Diana." __________ "... Lucas’s tender voice…” – The New York Times Proximity – “Shaw renders a car’s GPS as an electronically processed voice that veers from turn-left instructions to poetic flights, yielding to an introspective aria just right for Lucas’s tender voice.” __________ “...rarely has one experienced such a powerfully clear-singing, dramatically intense Wotan..." – Volksstimme Die Walküre – “Rarely has one experienced such a powerfully clear-singing, dramatically intense Wotan. The act 2 Monologue stunned with excitement and power, but impressive the intimacy with which Lucia Lucas sang and played the relationship with Brünnhilde.” __________ "...combines an aggressive female physicality with the noble elegance of the deep male voice..." – Deutschlandfunk Kultur Les contes d’Hoffmann – “She combines an aggressive female physicality with the noble elegance of the deep male voice. This makes for a fascinating contradiction.” __________ "...dark colored and threatening sounding depths..." – Online Musik Magazin Goetterdaemrung – "Lucia Lucas convinces as a grim Hagen with dark colored and threatening sounding depths." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Aaron Sanko Film/TV/Theatre

Explore the roster at UIA Talent Agency - Productions. LICENSABLE WORKS SEARCH BY COMPOSER Héctor Armienta Jasmine Barnes Brittney B.E. Boykin Christian De Gre Cárdenas Ricky Ian Gordon Jake Landau Johanny Navarro Kamala Sankaram SEARCH BY LIBRETTIST Kathleen Kelly Michael Kelly Jarrod Lee Deborah D.E.E. P. Mouton Joseph Reese Anderson SEARCH BY TITLE 27 & Aeterna Coyotes and Rabbits Ellen West Epoch of Hughes Farolitos of Christmas Fatty Fatty No Friends Garden of the Finzi- Continis The Grapes of Wrath Green Sneakers Hello, Star The House of Yes The House Without A Christmas Tree The Infinite Energy of Ada Lovelace Interstate Intimate Apparel The Jungle Book Kinsfolknem La Llorona Looking At You LUCINE! Miranda Monkey and Francine in the City of Tigers Morning Star Orgullo! Pietà Plumshuga Portraits: Douglass & Tubman Rappahonack County Rise She Who Dared Split-Second/ Life Taking Names Taking Up Serpents This House Tibetan Book of the Dead Thumbprint Two Corners The Weight of Light Working for the Macbeths ¿Y los Pasteles? Zorro 1 2 3 4 5

View artist profile - COMPOSER ARTIST WEBSITE HÉCTOR ARMIENTA COMPOSER BIOGRAPHY “Armienta’s score is lush with cultural influences that highlight the vast musical palette of Latin and Hispanic artistic traditions.” – The Classical Review (Review of Armienta’s Zorro ) Composer Héctor Armienta considers himself neither Mexican nor American, but Mexican American. His work exists in and in between these two worlds. Drawing on his training as a classical composer, his mission is to reinvent classical music by incorporating musical forms from both sides of the border. Whether it be Mariachi, music Azteca, or corridos (folk songs) from the fields of central California, you can find elements of this music in much of his work. This approach allows him to explore what it means to be Mexican American through the lens of classical music and opera. Armienta’s notable projects include Bless Me Ultima at OperaModesto, Zorro at Fort Worth Opera and Opera Santa Barbara, La Muerte at Ópera Cultura, and Mi Camino – an animated opera film that premiered at Ópera Cultura. Next season, Armienta’s projects include two productions of Zorro at Opera San Jose and Arizona Opera, Coyotes and Rabbits – A Bilingual Children’s Opera with Arizona Opera, as well as an immersive VR opera project titled Campesinos . READ MORE Born and raised in Los Angeles, California, Armienta is one of the few Chicano opera composers to have had his work performed nationally and internationally. His awards and commissions include those from Meet the Composer, the National Endowment for the Arts, Fort Worth Opera, Opera Pacific, Arts International, the Pacific Symphony, Opera Southwest, Oakland East Bay Symphony, and Western Stage Theater. His work for orchestra, theater, and opera has received support from six NEA grants in artistic excellence. He was recently awarded a 2022 CCSRE Arts Mellon Fellowship at Stanford University and a 2021 Map Fund award. Mr. Armienta is also the founder and director of Ópera Cultura whose mission is to explore music theater and opera through a cross-cultural lens. He holds a B.M. degree in composition from California Institute of the Arts and an MM degree in composition from the San Francisco Conservatory of Music. He also holds a seat on the board of Opera America as Vice Chair and is Co-Chair of the Civic Practice Committee. Current as of October 1, 2024 CRITICAL ACCLAIM "... a tuneful and emotive score..." – The Classical Review Zorro – "Composer, librettist and history buff Héctor Armienta took about ten years to complete his new opera Zorro ... It was a decade well spent based on the world premiere given by Fort Worth Opera…Credit a tuneful and emotive score, powerful use of leitmotif, nimble direction and staging, and a strong cast to put across the opera’s winning mix of humor, action, romance and bilingual flair…Armienta’s score is lush with cultural influences that highlight the vast musical palette of Latin and Hispanic artistic traditions.” __________ "...Armienta deploys his harmonic capabilities to score climactic moments..." – San Francisco Classical Voice Bless Me, Ultima – "the opera offered grand moments to Sunday’s receptive audience... Armienta deploys his harmonic capabilities to score climactic moments between these two characters and on Sunday the orchestra made these moments come alive: Wagnerian textures, Coplandian sonorities, and Philip Glass-like undulations combined in pieces such as “We are born into this world,” a superior duet between Anthony and Ultima in Act Two." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery Vice President | Classical & Creatives Aaron Sanko CEO & Partner | Theatre, Film, TV & Literary

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View artist profile - DIRECTOR ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE BRIAN STAUFENBIEL DIRECTOR BIOGRAPHY Brian Staufenbiel is the creative director for Opera Parallèle where he has directed and created the conceptual designs of the company’s productions since it was founded in 2010. Specializing in multimedia, immersive, and interdisciplinary productions, he actively works across a wide range of artistic disciplines collaborating in film and with media designers, choreographers and dancers, circus artists, and designer fabricators. His progressive approach to stagecraft has garnered critical acclaim for many of the company’s productions, including Wozzeck , Orphée , Champion , Dead Man Walking , and The Shining . Next season includes a world premiere production of Cuomo and Patrick’s Doubt with Opera Parallèle and Philip Glass’ La Belle et la Bête at Cal Performances, with reprisal productions of The Shining at Portland Opera, Utah Opera and Opera Tampa, and Fellow Travelers at Pittsburgh Opera. Last season included world premiere productions of Hanlon and Fleischmann’s Pigeon Keeper , Wallace and Korie’s Harvey Milk Reimagined , and Talbot and Scheer’s Everest at the Planetarium . READ MORE Recent works include OP’s west coast premiere of Fellow Travelers by composer Gregory Spears and librettist Greg Pierce and Golijov’s Ainadamar for L’Opera de Montréal and Pacific Opera Victoria. Other recent works included new productions of Moravec and Campbell’s The Shining and Birds and Balls ; the west coast premiere of composer David T. Little and librettist Royce Vavrek’s Vinkensport and the World Premiere of composer Laura Karpman and librettist Gail Collins’ Balls . In collaboration with choreographer Yayoi Kambara, Mr. Staufenbiel co-directed IKKAI , a dance installation about Japanese incarceration camps in the United States during World War II, which was performed at Georgia Tech. Staufenbiel created a new production of Elektra for Minnesota Opera. His 2016 production of Das Rheingold for Minnesota Opera was reprised at Arizona Opera, L’Opéra de Montréal, Calgary Opera, and opened the 60th season at Seattle Opera in 2023. It was named a Star Tribune Classical Pick of the Decade. Other projects include the premiere of Miguel Zenon’s Golden City Suite with SF JAZZ, and a new production of Gordon Getty’s Usher House and Canterville Ghost for the Center of Contemporary Opera in NY and LA Opera. Active in film direction, Staufenbiel recently directed and co-produced Flicka , a new documentary about the life of Frederica Von Stade with Paper Wings Films, and the dance film Out of the Dust which screened at the 2024 SF Dance Film Festival. He has created films for the Sun Valley Music Festival, a film of Dove/Angelis’ Flight for Seattle Opera, an award-winning graphic novel film of Talbot/Scheer’s Everest with Opera Parallèle, and a feature-length film of Gordon Getty’s opera Goodbye Mr. Chips . Staufenbiel enjoys an ongoing relationship with composer Philip Glass, having directed many of his operas including In the Penal Colony for Glass’ own festival. The production is currently streaming on a new platform, Philip Glass Days and Night’s Festival Presents, and was named a New York Times Top Ten pick. He recently finished the Cocteau Trilogy with Opera Parallèle’s acclaimed production of La belle et la bête . Staufenbiel recently left his position after seventeen years as the director of the opera program at the University of California, Santa Cruz, where he mounted a wide spectrum of award-winning productions ranging from traditional operas to commissioned works for the program. Staufenbiel holds degrees in Philosophy and Music including a Doctor of Musical Arts from the Eastman School of Music and currently resides in San Francisco and Paris. Current as of October 6, 2025 CRITICAL ACCLAIM "Opera Parallèle succeeded handsomely..." – Opera Today Harvey Milk Reimagined – "Though these smaller operatic resources may be required for Harvey Milk Reimagined it is still a formidable undertaking for any opera company, large or small. Opera Parallèle succeeded handsomely with its own production, staged by Opera Parallèle’s creative director Brian Staufenbiel, the complex score solidly realized by its general/artistic director, conductor Nicole Paiement." __________ "...a fluid production..." – Parterre Harvey Milk Reimagined – "Director Brian Staufenbiel and set designer Jacquelyn Scott shaped a fluid production centered on rolling staircases that enabled seamless transitions across the story’s key locales, while David Murakami’s projections—ranging from abstract scenic imagery to archival footage—anchored the staging most effectively when portraying the historical and emotional landscape of Milk’s Castro." __________ "...unobtrusively clear direction..." – San Francisco Chronicle The Pigeon Keeper – "Brian Staufenbiel’s unobtrusively clear direction supports the drama and fits well with the fairy-tale qualities of the story." __________ "...clever and appealing..." – Cordell Reports The Pigeon Keeper – "Opera Parallèle’s production could not be more fitting and effective with superb singing and musical support by the Nicole Paiement conducted eight-musician orchestra as well as Brian Staufenbiel’s clever and appealing creative design." __________ "...adept direction..." – San Francisco Chronicle Fellow Travelers – "Under Brian Staufenbiel’s adept direction, the opera’s cinematic cuts, dissolves and crowd scenes come off smoothly and effectively." __________ "...outstanding..." – San Francisco Classical Voice Fellow Travelers – "Opera Parallèle’s production, the West Coast premiere of Fellow Travelers, is yet another outstanding effort from the company, with exceptional vocalism and acting from all of the principals, excellent direction by OP Creative Director Brian Staufenbiel, and fine leadership from guest conductor Jaymes Kirksey." __________ "Staufenbiel’s production is endlessly inventive..." – San Francisco Classical Voice Birds & Balls – "Creative Director Brian Staufenbiel’s production is endlessly inventive, using video (both live and pre-recorded) to broaden the scale of the action and making inventive use of all the space in SFJazz Center’s Miner Auditorium. He frames the double bill as a broadcast on the old ABC “Wide World of Sports” show, with some apt puns for flavor, and gives the whole presentation a bright visual sheen." __________ "You can picture Staufenbiel’s enthusiasm in dealing with such creative wealth and diversity." – Cordell Reports The Shining – "Opera Parallèle has built its following based on three pillars – its deft selection of interesting underperformed or new material; the precise musical direction and conducting of Maestra Nicole Paiement; and the clever and original staging of Creative Director Brian Staufenbiel. The innovative OP has developed the first new production of “The Shining” with two partners, and it’s a treasure to see and hear – a visual phantasmagoria to fit the portentous score. However, the distinguishing feature of the production is the imaginative staging. You can picture Staufenbiel’s enthusiasm in dealing with such creative wealth and diversity. __________ "... magnificent..." – San Francisco Chronicle La Belle et la Bête – “In Opera Parallèle’s magnificent new production, which opened an all-too-brief four-performance run at SFJazz on Thursday, July 14, director Brian Staufenbiel and a team of ingenious collaborators add layer upon layer to the original material until it sparkles and swirls like a disco ball. Wherever you look, wherever you listen, the result is an all-enveloping feast for ears and eyes alike." __________ “... brilliant…” – Opera News Elektra – “Stage director and production designer Brian Staufenbiel put Strauss’s opera in a new frame, creating a parallel story that overlaid the familiar opera version of the Greek tragedy. . . Among the brilliant strokes of this production …was putting the orchestra on stage… This new take on Elektra makes the characters less mythic and more human. It also adds occasional comic relief, in a tasteful way, and some useful onstage action in an opera that doesn't have much." __________ "... riveting from beginning to the end…” – La Scena Musicale Das Rheingold – “The first time Wagner’s Das Rheingold is staged in Montreal is a success. As a whole, this is Opéra de Montréal’s best production in the last two and a half years, riveting from beginning to the end.” __________ "... an eloquent theatrical experience..." – LA Weekly Usher House / The Canterville Ghost – “Collectively, L.A. Opera’s Off Grand presentation of Scare Pair, under the direction of Brian Staufenbiel, was an entertaining hybrid of spooky stories and opera, providing fans of scary stories with an eloquent theatrical experience and fans of opera with a particularly colorful program.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General

View artists profile - DRAMATURG INSTAGRAM FACEBOOK CORI ELLISON DRAMATURG BIOGRAPHY Cori Ellison, a leading creative figure in the opera world, has been staff Dramaturg at Santa Fe Opera, the Glyndebourne Festival, and New York City Opera. She is currently production dramaturg for the Los Angeles Philharmonic’s Ring cycle, and has also served in that capacity on L'incoronazione di Poppea (Cincinnati Opera); Orphic Moments (Salzburg Landestheater, National Sawdust, Master Voices); Dialogues des Carmélites (Wolf Trap Opera); Aci, Galatea, e Polifemo (National Sawdust, Philharmonia Baroque); Washington National Opera’s Ring cycle; Opera Boston’s The Nose ; Offenbach!!! (Bard Summerscape); and La finta giardiniera (Indiana University). READ MORE Active in developing contemporary opera, she is a founding faculty member and mentor at American Lyric Theater’s Composer Librettist Development Program and has developed new operas for companies including Glyndebourne, Canadian Opera, Norwegian Opera, Icelandic Opera, Opera Philadelphia, Chicago Opera Theater, Arizona Opera, Opera Birmingham, Pittsburgh Opera, Beth Morrison Projects, Miller Theater, Indiana University Opera Theater, and Crane School of Music. Her English singing translations include Hansel and Gretel (NYCO; published by Schott), La vestale (English National Opera) and Shostakovich’s Cherry Tree Towers (Bard Summerscape). She creates supertitles for opera companies worldwide, including the Metropolitan Opera. Her feature articles have appeared in publications including the New York Times and Opera magazine, and she has contributed to books including The New Grove Dictionary of Opera. She serves on faculty at The Juilliard School (Vocal Arts) and the Ravinia Steans Music Institute Program for Singers, where she curates and prepares an annual themed concert program. She has led seminars and taught master classes at schools including Indiana University, Cincinnati College-Conservatory, University of Toronto, University of Texas/Austin, University of Michigan, Michigan State University, Boston University, Boston Conservatory, and DePaul University. She adjudicates vocal competitions including the Metropolitan Opera Laffont Competition, Concurso San Miguel in Mexico, Opera Index, and the Wagner Society of New York . Current as of January 20, 2026 FULL PRESS KIT LATEST NEWS REPRESENTATIVES PRIMARY Shawn Marie Jeffery LITERARY Aaron Sanko

View artist profile - LIBRETTIST/ACTOR ACTOR'S ACCESS INSTAGRAM JOSEPH REESE ANDERSON LIBRETTIST/ACTOR BIOGRAPHY Joseph Reese Anderson has created projects around the globe using poetic language to promote the ideas of awareness, tolerance, and empathy in ways that combine beauty with accessibility. After attending East Carolina University (double BFA Programs: Professional Acting and Musical Theatre), he moved to New York and was introduced to the world of spoken word and performance poetry. Recent works include Fatty Fatty No Friends (FringeNYC Excellence Award Winner, Innovative Theater Award Nomination, New York Musical Festival Best of Fest Concert, Time Out New York Critic's Pick), Whiskey Pants: The Mayor of Williamsburg (Audience Favorite at FRIGID New York, Showscore Critic's Pick, off-broadway premiere at HERE), Cadence: Home , and Red Sky the Musical . As a writer and lyricist, Joseph’s work has been featured in New York City at world renowned organizations like Joe's Pub at The Public Theater, Feinstein's/54 Below, HERE Arts Center, Intersections International, The Stonewall Inn, and La Mama E.T.C. Joseph is an advocate, ally, and activist and enjoys embracing the themes of inclusion in his work. As an outreach coordinator for St Luke's Roosevelt Hospital in NYC, he was able to spread awareness and information to others in concrete and meaningful ways, and even more so when he founded Social Socials: Social Events for Social Causes, which was a direct microfinancing event planning organization that benefited many lives, both domestic and international. Most recently he has founded an artist collective in Raleigh, NC called Capital Moments, where artists are offered a space for workshopping and honing their work, and the opportunity to present their work on stage. FULL PRESS KIT LATEST NEWS REPRESENTATIVES THEATRE/LITERARY Aaron Sanko LITERARY Shawn Marie Jeffrey FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson

View artists profile - TENOR ARTIST WEBSITE INSTAGRAM CURTIS BANNISTER TENOR BIOGRAPHY The 2021 recipient of the Actors Equity Foundation Roger Sturtevant Award and Drama League Award nominee ( Fidelio ), Curtis Bannister has been praised by TimeOut Magazine as “radiating with slowly simmering energy” and a “quiet revelation” by the L.A. Times for his performances in theater, film, and opera. Last season, Curtis returned to Heartbeat Opera as Chastity in Slaylem: The Witch Trials , joined INSeries to portray Robert in the workshop of Damien Geter and Jarrod Lee’s new opera The Delta King’s Blues , and made his mainstage début with Goodman Theatre in Chicago as Buster in The Color Purple . This season, he looks forward to returning to Indianapolis Symphony as duet partner to Heather Headley in a series of Pops concerts throughout the holiday season. He also joins Pensacola Opera as a Gala soloist, returns to Chicago Opera Theater as Severin in Der Silbersee , and joins Baltimore Symphony Orchestra in a concert of Broadway repertoire, in addition to a robust schedule of regional theatre engagements. READ MORE Curtis recently débuted at Asolo Repertory Theatre to unanimous acclaim for his portrayals as Reverend Jeremiah Brown in the American classic, Inherit the Wind , George in Lynn Nottage’s Pulitzer Prize-winning play, Intimate Apparel , and Juror #8 in the world premiere production of the musical adaptation of 12 Angry Men following a sold-out run in Minneapolis. In addition, Curtis débuted at The Kennedy Center as Soloist 1/Celebrant (cover) in Bernstein’s MASS for the Center’s 50th Anniversary celebration with the National Symphony and has performed with the Cincinnati Symphony/Cincinnati Pops, Baltimore Symphony Orchestra, Chicago Symphony Orchestra, and The Philadelphia Orchestra in Bernstein’s Candide alongside Bradley Cooper and Carey Mulligan. Bannister has also performed leading and supporting roles with Lyric Opera of Chicago ( Il trovatore , Porgy & Bess , Les Troyens ), Sarasota Opera ( I lombardi , The Crucible , Lucia di Lammermoor ), Heartbeat Opera ( Fidelio ), Utah Festival Opera (Verdi’s Otello , Der fliegende Holländer , Vanessa , Porgy & Bess ), Atlanta Opera ( Candide ), Baltimore Symphony Orchestra ( Candide ), Chicago Opera Theatre ( La hija de Rappaccini , Quamino’s Map , The Nose ), and Opera Fairbanks ( Le nozze di Figaro ). Since 2023, Curtis has been the concert partner of Grammy and Tony-Award Winner Heather Headley. Bannister made his début at the TRIBECA FILM FESTIVAL in the feature film The Conductor and can be seen as Marquis on Season 2 of the Apple TV+ series, Dickinson and Firefighter Reimers in NBC’s Chicago Fire . Last fall, Curtis was seen as Enzo on Season 2 of the Netflix hit show Survival of the Thickest with Michelle Buteau. For more info visit www.thecurtisbannister.com | Instagram: @thee_cb | Twitter: @theecb Current as of September 22, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General/Opera Aaron Sanko Film/TV/Theatre CRITICAL ACCLAIM "...'Cool' is the operative description here for Bannister..." Indianapolis Symphony Yuletide 2024 - "...whose leading man looks and beautifully toned vocals..." ----------- "...Curtis Bannister gives it all he’s got..." – Hyde Park Herald The Nose – “…the titular Nose has only one important singing scene, yet Curtis Bannister gives it all he’s got, with the right amount of nasal sound while he drips with condescension to the man whose only beef is that his nose has done a runner. Bannister wears the enormous nose attached to his torso with the pride of a general displaying medals on his chest, yet still manages to offer humorously furtive appearances throughout the opera. He is everywhere in St. Petersburg except on the face of Kovalyov.” __________ "...ringing, intrinsically appealing tenor voice..." – Opera News Quamino's Map – “Curtis Bannister boasted a ringing, intrinsically appealing tenor voice as Juba Freeman.” __________ "...a tenor of impressive stamina..." – The New York Times Fidelio – “the daring and imaginative Heartbeat Opera — an enterprise that, while small and still young, has already contributed more to opera’s vitality than most major American companies — tells the story of a Black Lives Matter activist (Florestan) named Stan — sung by Curtis Bannister, a tenor of impressive stamina.” __________ "...expressing despair and hope in equal measure..." – Opera Gazet Fidelio – “Curtis Bannister made the most of Florestan’s cruel tessitura, his legato fine, the long-breathed reaches upward accurate and ringing, all the while expressing despair and hope in equal measure.”

View artist profile - MEZZO-SOPRANO ARTIST WEBSITE FACEBOOK INSTAGRAM EMILY TREIGLE MEZZO-SOPRANO BIOGRAPHY A New Orleans native and Grand Finals Winner of the Metropolitan Opera Laffont Competition, mezzo-soprano Emily Treigle is regarded as "endlessly watchable and a consummate musician." In Spring 2025, Treigle made her international debut with the Canadian Opera Company as Filipyevna in Eugene Onegin and Lucia in Cavalleria Rusticana . That summer, she attended the Académie at Festival d’Aix en Provence in France. In the 2025-2026 season, Treigle will be making many company and role debuts, including: Second Lady in the holiday presentation of The Magic Flute at The Metropolitan Opera; La Ciesca in Gianni Schicchi and The Monitress in Suor Angelica at Houston Grand Opera; Mère Marie in Dialogues des Carmélites at New Orleans Opera, and reprising the role of Despina in Così fan tutte at Madison Opera. In 2024, after being named a winner of the George and Nora London Foundation Competition, she returned to Wolf Trap Opera for the 2024 season, performing Despina in Così fan tutte , where she was praised for her “uncanny sense of comedic timing” and “magnificent voice.” In the previous season with Wolf Trap Opera, she displayed her “acting range [as] impressive as her vocal one” as Juno/Ino in Semele . READ MORE An alumna of the Houston Grand Opera Butler Studio, Treigle performed numerous roles with the company including: Meg Page in Falstaff , Suzuki in Madama Butterfly , Flora in La traviata , Miss Violet in the world premiere of Another City , Mère Jeanne in Dialogues of the Carmelites , and Gertrude in Romeo and Juliet . She also covered the roles of Donna Elvira in Don Giovanni , Marcellina in Le nozze di Figaro , and Herodias in Salome . She made her first guest appearance with the company in Fall 2024 as Tisbe in La Cenerentola . An undeniable legacy, Emily’s grandfather was world-renowned bass-baritone Norman Treigle. Current as of July 23, 2025 CRITICAL ACCLAIM “Treigle is a key part of this production’s success..." – The Washington Post Così fan tutte – “My favorite performance of the night was mezzo-soprano Emily Treigle as meddlesome maid Despina, rendered here as a lovably troublesome and vaguely goth pot-stirrer. Her splendid and spirited “In uomini, in soldati” felt emblematic of the entire show’s likable vibe, as well as her magnificent voice, which the comic calling of the role never managed to shrink. (She did, however, dispose entirely of proper diction when disguised as the notary, to perfectly hilarious effect.) A fabulous singer (she’s a grand finals winner of the 2021 Metropolitan Opera Laffont Competition) and a fine actress, Treigle is a key part of this production’s success.” __________ "...Treigle’s acting range is as impressive as her vocal one..." – DC Theater Arts Semele – “The music is undoubtedly gorgeous, but it is the performances that make this story so enjoyable, particularly that of Treigle. Treigle’s acting range is as impressive as her vocal one. As Ino, Treigle is a sweet, awkward schoolgirl, but her turn as Juno is a bewitching and impassioned tempest come alive. Her distinct performances as Ino and Juno paired with Tonea’s Semele offer a powerful look at the different ways women have long battled the demands of sex, love, power, and self.” __________ "...Emily Treigle, she, too, of the creamy voice..." – Houston Press Falstaff – “Mezzo-soprano Emily Treigle, she, too, of the creamy voice, is a lively Meg Page, one of the co-conspirators. She practically bounces across the stage when the wives hatch their comic plot.” __________ “…She sang well with substance and power, good projection and excellent phrasing…” – Opera News Così fan tutte – “Emily Treigle as Despina displayed an uncanny sense of comedic timing. She was sneakily flippant and conniving, but not calculating, which made her particularly interesting. She sang well with substance and power, good projection and excellent phrasing.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General