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

View artist profile - ACTOR MEDIA ACTORS ACCESS ARTIST WEBSITE INSTAGRAM MICHAEL KUHN ACTOR REPRESENTATIVES CLASSICAL & CONCERT Adrienne Boris THEATRE Aaron Sanko FILM/TV Christopher D. Silveri

View artists profile - SOPRANO ARTIST WEBSIT E INSTAGRAM FACEBOOK AMANDA SHERIFF SOPRANO BIOGRAPHY American soprano Amanda Sheriff recently completed her second year as a Studio Artist with The Atlanta Opera, where she performed and covered multiple roles. This season, she returns to Atlanta as Barbarina in Le Nozze di Figaro , makes her musical theater debut as Sarah in Ragtime with Opera Montana, and returns to Opera Baltimore as Yniold in Pelléas et Mélisande . Last season featured a series of notable debuts, including Musetta in La Bohème at Opera Montana, Satirino/L’Eternità in La Calisto at the Glimmerglass Festival, and Jess in The Listeners with Opera Philadelphia. She also joined the Greenville Symphony as soprano soloist in Beethoven’s Ninth Symphony and closed the year as Papagena in Die Zauberflöte with The Atlanta Opera. Other recent highlights include Zerlina in Don Giovanni with Opera Philadelphia and the world premiere of Steele Roots for Atlanta Opera’s 96-Hour Opera Project. Sheriff joined The Atlanta Opera Studio in 2023 following her time as a Young Artist at the Glimmerglass Festival, where she premiered the role of Calista in Rip Van Winkle . In 2022, Sheriff won first prize in the prestigious Lotte Lenya Competition and appeared with Opera Delaware and Opera Baltimore. Additional credits include performances with Des Moines Metro Opera, Florida Grand Opera, and Seagle Music Colony, where she was acclaimed for her Susanna in Le nozze di Figaro . With a repertoire that spans from Mozart to contemporary premieres, Sheriff is recognized for her dynamic versatility, luminous voice, and compelling stage presence. Current as of September 1, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...soft high tones that caress the ear..." – South Florida Classical Review Three Decembers – "Beatrice is a less clearly defined character but Amanda Sheriff, a member of the FGO Studio Artist program, is a real find. With soft high tones that caress the ear and the ability to fully command the stage, her voice blended felicitously with Solis in their duets. She displayed deep pathos in Beatrice’s alcohol-tinged narrative of her loveless marriage." __________ "...wildly funny and elegantly lyrical..." – South Florida Classical Review Signor Deluso – "Deploying a soprano of strength, tonal beauty and dramatic depth, Sheriff, one of the most impressive singers in this season’s FGO Artists’ Studio, was both wildly funny and elegantly lyrical in Cèlie’s send up of anguish and despair." __________ "...silvery soprano..." – Opera Today Fellow Travelers – "...the petite, cute-as-a-button soprano Amanda Sheriff, used her silvery soprano to good effect as the malevolent Miss Lightfoot." __________ "...she was riveting..." – MD Theatre Guide The Medium – "Amanda Sherriff’s voice has a richness that grabs you by the ear from her first notes to her final scene. There is something haunting, almost unusual in its beauty. As Monica, she is playful and funny in her scenes with Toby. When she tries to be defiant, threatening to leave with Toby if Madama throws him out, she is totally believable. In her Black Swan aria, she was riveting. Menotti’s writing for this character suits Ms. Sherriff’s soprano to a “T” which stands for terrific." __________ "...stole every scene she was in..." – Opera Today La Calisto – "Petite soprano Amanda Sheriff stole every scene she was in as the Young Satyr, dominating the action with her vibrant, sassy singing, and her animated, randy, suggestive gyrations. She tamed this joyous abandon to double effectively [sic] as Eternity." __________ "...beautiful voice and good comedic timing..." – Speakeysie Die Zauberflöte – He along with Amanda Sheriff as Papagena played off each other in the infamous lighthearted duet and made the audience laugh and smile...Amanda is in her second year as an Atlanta Opera Studio Artist and executed her role with a beautiful voice and good comedic timing.

View artist profile - ACTOR ACTOR'S ACCESS ARTIST WEBSITE FACEBOOK INSTAGRAM TREVOR MARTIN ACTOR BIOGRAPHY Wielding a handsomely sincere voice and a fearlessness in expression, Trevor Martin is praised for his “classically trained baritone, perfect for the Golden Age of musical theater.” His training, charisma, and adaptability garner a unique cross-genre appeal and make him a fan favorite on stage in plays, musicals, operas, and concerts, as well as on the small screen. Last season’s engagements included the role of Captain Georg von Trapp in the Global Tour of Rodgers & Hammerstein’s The Sound of Music and Joe in Andrew Lloyd Webber’s Sunset Boulevard with Music Theatre of Connecticut. This season, he joins Wolfbane Productions as Simon Stride/Spider/Jekyll U/S in Jekyll & Hyde and The Wick Theatre as Billy Bigelow in Carousel . Recently, Mr. Martin took part in ZACH Theatre’s production of The Sound of Music as Captain von Trapp, performed the role of Anthony in End of the Rainbow with Revival Theatre Company, performed the role of Bob Wallace in White Christmas at the Jennie T. Anderson Theater, donned roles in See What I Wanna See with Arc Stages, and performed Riff in Opera San Jose’s West Side Story . Favorite engagements include the title role in Sweeney Todd , Beast in Beauty and the Beast , Sky Masterson in Guys & Dolls , Ralph Rackstraw in HMS Pinafore , and Captain Von Trapp in The Sound of Music , at theaters such as: Sharon Playhouse, Wolfbane Productions, Colorado Springs Fine Arts Center, and Seagle Music Colony. READ MORE Martin’s high-level of musicianship makes him a first choice for composers of new works. He originated roles in a variety of premieres including Muse in When Adonis Calls with Asheville Lyric Opera and Mark Twain in TESLA with SoBe Arts. With Fort Worth Opera, Martin covered the title role in JFK and Victor in Buried Alive, and he created the Baritone roles in Voir Dire. The original cast recording of Voir Dire was released in August of 2020, on RedHouse records. Martin has also participated in workshops and readings of new works, both in opera and musical theater. Namely creating the role of John in a new opera entitled House of Legendary, which has been workshopped with the American Opera Project, with an intended premiere in 2021. Other notable workshops include: the role of Frederick/Hans Kattle in The Sorrows of Frederick, Python Hunter/Male Ensemble in The Night Falls, Enkidu in Gilgamesh, and Earl in Pure Country. Trevor’s work as a concert and cabaret soloist earns him critical acclaim with ensembles throughout the U.S. such as: Fort Worth Symphony Orchestra, Ensemble Échappé, Norwalk Symphony Orchestra, Barry University Chorale, Southern Crescent Chorale, and Opera North. An accomplished and versatile actor, singer, and musician, Trevor was a winner in the prestigious Lotte Lenya Competition sponsored by the Kurt Weill Foundation in 2019 and has been selected as a quarterfinalist for the American Traditions Competition, which will be held in the Winter of 2021. Trevor is proud to support many social justice reform organizations, currently serving on the board of multiple Diversity, Equity, and Inclusion Committees for different theaters, and is committed to these ideals in all aspects of the theater and academic worlds. Trevor earned a Bachelor of Music in Vocal Performance from Georgia Southern University before graduating with a Master of Music in Vocal Performance from the esteemed Moores School of Music at the University of Houston. Current as of August 31, 2023 CRITICAL ACCLAIM "...sings with great lyricism..." – Opera News Voir Dire – “Baritone Trevor Martin, as the abject Professor Milton, sings with great lyricism and maintains an analytical, articulate tone in his self-annihilating exploration of how he fell into his disgraced state.” __________ "...a forceful portrayal..." – The Column Carmen – “Trevor Martin sang a forceful portrayal of Morales the officer.” __________ "...rare classically trained heroic baritone..." – The Kurt Weill Foundation for Music Lotte Lenya Competition 2019 – “Martin was described by the judges as ‘a rare classically trained heroic baritone, perfect for the Golden Age of musical theater” who presented “risky repertoire… and made solid acting choices.’ “ __________ "...wows with feeling..." – Dallas News Mame – “Operatically trained baritone Trevor Martin … wows with feeling as the grown up Patrick.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES THEATRE Aaron Sanko FILM/TV Christopher D. Silveri JUNIOR AGENT: FILM/TV Lucius Robinson

View artist profile - SOPRANO ARTIST WEBSITE FACEBOOK MELODY MOORE SOPRANO BIOGRAPHY Soprano Melody Moore is enjoying a thriving career on the world’s leading stages, prompting  Opera News  to label her “a revelation,” and of her sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.” Last season, Ms. Moore joined New Orleans Opera to sing the title role in Tosca before making her role and company début as Helen Douglass in Ulysses Kay’s final opera Frederick Douglass with Odyssey Opera and Boston Modern Opera Project. This prolific work was brought back to the stage after nearly 35 years and will receive its first commercial recording to be released in 2026. She also sang the role of the Hostess in Gordon Getty's Plump Jack in a new recording and is currently filming the opera with Sunset Entertainment in Los Angeles to be released in 2026. Additionally, Ms. Moore took to the concert stage as a soloist in Mahler’s Symphony No. 2 with Targu Mures Philharmonic State Orchestra , sang Verdi’s Requiem with Transylvania State Philharmonic and The Romanian National Opera Cluj-Napoca, and appeared in a Puccini Gala concert with the Dinu Lipatti State Orchestra. This season, she returns to the Transylvania State Philharmonic for a concert of Beethoven’s Fidelio . READ MORE Ms. Moore recently joined the Baltimore Symphony for Zemlinsky’s Lyric Symphony , the Los Angeles Master Chorale for Verdi’s Requiem , and headed back into the studio for two projects: a new recording with San Francisco Classical Recording Company, singing the title role in Norma ; and a new recording of Gordon Getty’s opera Goodbye Mr. Chips as Kathie/Linford. She also enjoyed a triumphant return to Los Angeles Opera, repeating her tremendous success in the role of Amneris in Aida opposite Latonia Moore in the title role and tenor Russell Thomas as Radamès. Concert highlights have included Beethoven’s Symphony No. 9 with the Minnesota Orchestra under the baton of Juraj Valčuha and the Mother in Hänsel und Gretel with the Atlanta Symphony Orchestra, with Sir Donald Runnicles at the helm. We also saw the release of Moore’s interpretation of the title role in Madama Butterfly (available on Pentatone) and the recording of a critically acclaimed concert of Tosca , captured live in Berlin, Germany. Moore made a much-anticipated return to San Francisco Opera as Mère Marie in the Olivier Py production of Dialogues des Carmélites , and she made her role début as Alice Ford in Falstaff in concert with the Polish National Radio Symphony Orchestra in Katowice, Poland. Ms. Moore has continued to remain active in the recording studio, marking the 100th anniversary of the birth of legendary soprano Renata Tebaldi with the newly released Remembering Tebaldi , an album featuring selections from the Italian repertoire for which she was most famous. She also sang Kathie/Linford in the world premiere recording of Gordon Getty’s opera Goodbye, Mr. Chips . Despite several postponements and cancelled productions due to COVID closures, the period offered Ms. Moore an opportunity to focus on recording projects, and the resulting releases of Cavalleria rusticana and La fanciulla del West (both released on the Pentatone label) have been widely praised by reviewers and consumers alike. Highlights of recent seasons include her début as Amneris in a new production of Aida , reprising the role of Senta in the season opening production of Die fliegende Holländer   led by Music Director Patrick Summers, and Donna Elvira in  Don Giovanni   in a new production by Kasper Holten, all with Houston Grand Opera; returning to LA Opera for a role début as Gertrude (Mother) in  Hänsel und Gretel under the baton of Music Director James Conlon; three major role débuts: Elisabetta in   Don Carlo   at Washington National Opera, the title role in  Salome   at Florida Grand Opera, and Tatyana in  Eugene Onegin   at Hawaii Opera Theatre; and singing her signature roles of Tosca in a return to Opéra de Montréal and Senta in Der fliegende Holländer   in a new production by Tomer Zvulun at The Atlanta Opera.  Her portrayal of Desdemona in a full recording of   Otello   was also released by Pentatone. Concert highlights included her début with the Houston Symphony Orchestra in Mahler’s Das klagende Lied  under the baton of Music Director Andrés Orozco-Estrada; a début with the Dresdner Philharmonie in the roles of Giorgetta in  Il tabarro   and Santuzza in Cavalleria rusticana , both of which were recorded for commercial release by Pentatone; Senta with the Milwaukee Symphony Orchestra, under the baton of Music Director Edo de Waart; a début with the Grant Park Music Festival for Delius’   A Mass of Life ; and the title role in Salome in Daegu, South Korea. Other recent career highlights include a house and role début at Seattle Opera in the title role of   Katya Kabanova ; appearances with San Francisco Opera in the title role of  Tosca , Susan Rescorla in   Heart of a Soldier , Mimì in  La bohème ,  and the Countess in  Le nozze di Figaro ; Houston Grand Opera as Julie in  Show Boat , Marta in the American premiere of The Passenger , the title role in  Carmen , and Dorabella in  C osì fan tutte ; Washington National Opera as the title role in Florencia en el Amazonas , Phillip Glass’  Appomatox , and in Francesca Zambello’s highly acclaimed production of Wagner’s full  Ring   cycle; LA Opera as Tosca , the Countess in   Le nozze di Figaro,  and in productions of  Der Zwerg   and   Der Zerbrochene Krug ; Opéra de Montréal as Cio-Cio-San in   Madama Butterfly ; Glimmerglass Festival as Lady Macbeth in Macbeth  and Senta in  Der fliegende Holländer ; Lincoln Center Festival in   The Passenger ; English National Opera as Mimì in La bohème and as Marguerite in  Faus t ; New York City Opera as Rita Clayton in the New York premiere of  Séance on a Wet Afternoon   and as Regine St. Laurent in Rufus Wainwright’s Prima Donna ; and Austin Lyric Opera as Senta in Der fliegende Holländer . Additional performances include the title roles of  Manon Lescaut  at New Orleans Opera, Tosca  with the Lyric Opera of Kansas City, Pamina in   Die Zauberflöte   at Opéra de Bordeaux, and Donna Elvira in  Don Giovanni  with The Atlanta Opera and Opera Colorado. On the concert stage, Ms. Moore has appeared with the Atlanta Symphony Orchestra for Bruckner’s   Te Deum  led by Music Director Donald Runnicles; Bard SummerScape Festival as the title role in  Turandot ; and Bavarian Radio Symphony in performances and a recording of excerpts of Gordon Getty’s opera  Plump Jack conducted by Ulf Shirmer, which she also sang with the New Century Chamber Orchestra conducted by Nadja Salerno-Sonnenberg.  She has also joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto. A Master of Music graduate of the Cincinnati College-Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and an alumnus of the prestigious Merola program. Current as of September 1, 2025 CRITICAL ACCLAIM "...unleashing an inferno of tireless vocalism at the denunciation of Ramfis." - Parterre Box Amneris in Aida - “The benefits of this casting were immediately apparent both for the music and the drama. Ms. Moore knows how to project a beautiful imperiousness. The proud shell over the vulnerable core. As well she manages a sly insincerity that lets the audience in on her character’s truth but never her fellow players. She laid a beautifully subtle trap for Aida in their duet and then her frustration in Act IV with Radames' continued refusal to renounce Aida was palpable. Vocally because of her naturally higher vocal placement she showed an ease of amplitude in many parts of the role that most interpreters simply can’t. The repeated “Vieni, amor mio” in her chambers at the top of Act II, which are usually ungainly sounding, here were the voluptuous love call Verdi intended. The beauty of her instrument made her simply a woman wronged and not the usual vicious intriguante . She played an extraordinarily nuanced Judgment that kept building on itself. First bringing applause after her short arioso following the confrontation with Radames and then unleashing an inferno of tireless vocalism at the denunciation of Ramfis. Honestly the first Amneris I’ve seen live who didn’t run out of steam on the final pages. She was richly rewarded for her efforts by the audience.” __________ "Moore brought the tortured character of Amneris to life." - Seen and Heard International Amneris in Aida - “Of particular note was Melody Moore’s Amneris. Regal, spiteful, yet deeply in love with Radames, Moore brought the tortured character of Amneris to life. She exemplified Verdi’s unique ability to sympathize with his characters: although a reigning princess, she too is a victim of her passions. As did Shakespeare and Elliot, Verdi found the humanity behind the masks of his characters. Musically and dramatically, this production offered a convincing love triangle.” __________ "...genuinely exciting and electric voice..." - The Guardian An American Song (album) - “This recording is a calling card for a genuinely exciting and electric voice, solidly gleaming, with the high range of a soprano but fleshed out with dark, mezzo-ish colours and with its voluptuous richness focused into singing of striking directness and clarity.” __________ "...when Moore wasn’t putting a wallop into Elvira’s outcries, she gave her introspections a hushed intensity." - Texas Classical Review Donna Elvira in Don Giovanni - “Almost as soon as Donna Elvira, a woman from Giovanni’s past, came face-to-face with him, her inner conflict burst forth: soprano Melody Moore’s Elvira slapped him, loudly, then immediately planted a kiss on his lips. Moore’s hefty tones complemented Perez’s brighter ones. But when Moore wasn’t putting a wallop into Elvira’s outcries, she gave her introspections a hushed intensity–especially in the anguished recitative that led into her aria Mi tradì .” __________ "...a breathtaking combination of sheer power... and light-handed lyricism..." - Journal Sentinel Senta in Der fliegende Holländer - “Melody Moore’s touching Senta was a breathtaking combination of sheer power, slicing easily through dense orchestrations and light-handed lyricism, full of soft, floating, high passages.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

View artists profile - COMPOSER ARTIST WEBSITE INSTAGRAM KAMALA SANKARAM COMPOSER BIOGRAPHY Praised as “strikingly original” ( NY Times ), composer Kamala Sankaram moves freely between the worlds of experimental music and contemporary opera. Her work has been performed internationally at venues including Dutch National Opera, Los Angeles Opera, Carnegie Hall and the Kennedy Center. She has been artist-in-residence at the Glimmerglass Festival, the Brooklyn Botanic Garden, and is currently in residence at Minnesota Opera. As a biracial Indian American and trained sitarist, Kamala has drawn on Indian classical music in many of her works, including Thumbprint , A Rose , Monkey and Francine in the City of Tigers , Jungle Book and the forthcoming The Many Deaths of Laila Starr . Also known for pushing the boundaries of form and style, she has created an opera for the trees of Prospect Park (as winner of the 2021 Creative Time Open Call), the world’s first virtual reality opera, an augmented reality music walk for Van Cortlandt Park in the Bronx, and a techno-noir featuring live datamining of the audience, among other pieces. Last season, Sankaram’s one-act opera The Infinite Energy of Ada Lovelace , with a libretto by Rob Handel, was seen at Mannes School of Music and Oberlin Conservatory of Music; her family opera Jungle Book , with a libretto by Kelley Rourke, joined Washington National Opera’s holiday programming; and her biographical opera Thumbprint , with a libretto by Susan Yankowitz, made its European début, captivating German audiences at Oper Wuppertal. In addition, Sankaram composed an original piece for piano and voice for the Music Academy of the West. This season brings exciting new work including a chamber opera for the Kilkenny Arts Festival and a highly anticipated commission for Opera Philadelphia entitled Complications in Sue . Future seasons bring a world premiere commissioned by Wolf Trap Opera , as well as a mainstage and chamber opera to premiere at Minnesota Opera through their New Works Initiative. READ MORE Sankaram’s notable works include The Last Stand , a 10-hour opera created for the trees of Prospect Park, Brooklyn, Only You Will Recognize the Signal , a serial space opera performed live over the internet, Looking at You , a techno-noir featuring live data mining of the audience and a chorus of 25 singing tablet computers, all decisions will be made by consensus , a short absurdist opera performed live over Zoom, and The Parksville Murders , the world’s first virtual reality opera. Kamala is the leader of Bombay Rickey, an operatic Bollywood surf ensemble whose accolades include two awards for Best Eclectic Album from the Independent Music Awards, the 2018 Mid-Atlantic touring grant, and appearances on WFMU and NPR. Dr. Sankaram holds a PhD from the New School and is currently a member of the composition faculties at Mannes School of Music and SUNY Purchase. Current as of July 30, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery Vice President | Classical & Creatives Aaron Sanko CEO & Partner | Theatre, Film, TV & Literary Lisa Bremer Operations & Finance Manager

View artists profile - MEZZO-SOPRANO EMILY PULLEY MEZZO-SOPRANO BIOGRAPHY Acclaimed mezzo-soprano Emily Pulley’s radiant voice and electrifying acting have won her both national and international acclaim on the operatic stage. At home in both traditional and contemporary repertoire, Ms. Pulley recently joined The Metropolitan Opera for a workshop of The Amazing Adventures of Kavalier and Clay and created the role of Kate Heller in the world premiere of Carla Lucero and Marianna Mott Newirth’s Touch , about the life of Helen Keller, with Opera Birmingham. In the 2024-25 season, she took her hilarious, self-directed Julia Child in Lee Hoiby’s one-woman Bon Appétit to Fort Worth Opera, followed by Nashville Opera, where it appeared on a double bill with the world premiere of Shawn E. Okpebholo and Mark Campbell’s The Cook-Off , in which she sang the role of Beryl Bennett. She returned to Nashville Opera later in the season to direct H.M.S. Pinafore and portrayed the role of Little Buttercup, and finshed up the season as Quickly in Falstaff with Vashon Opera Other recent highlights include Ježibaba in Rusalka with Opera Orlando, the Witch in Hansel and Gretel with Eugene Opera, and with Wichita Grand Opera co-directing and singing the Old Lady in Candide . The 2025-26 season brings a return to Eugene Opera as Madeline in Three Decembers , Mrs. Grose in The Turn of the Screw with Opera Tampa, and Aunt Eller in Oklahoma with Pensacola Opera. Previously, Pulley held tenure at Lyric Opera of Chicago, was seen as Ruth in The Pirates of Penzance with Nashville Opera, and performed as Mrs. Lovett in Sweeney Todd with Opera Omaha, Zita in Gianni Schicchi with Tulsa Opera, Marjorie Kinnan Rawlings in the world premiere of The Secret River with Opera Orlando, and Sister 1 in the world premiere of Why I Live at the P.O. with Urban Arias. READ MORE Ms. Pulley made role débuts in the title role of Carmen with Central City Opera, Mrs. De Rocher in Dead Man Walking with Minnesota Opera, and Becky in Morning Star with On Site Opera. Other recent engagements include her performance as Madeline in Three Decembers with Nashville Opera, Desiree in A Little Night Music with Madison Opera, Martha in Faust with Opera Omaha, and Buttercup in H.M.S. Pinafore . She performed as Beggar Woman in Sweeney Todd with Mill City Summer Opera and Madison Opera, of which critics said, “the dark side hollered balefully in soprano Emily Pulley's half-crazed Beggar Woman.” Ms. Pulley sang Amneris in Aida and Mere Marie in Dialogues des Carmélites as a part of Eugene Opera’s New Year’s Eve Opera Trio concert and Mrs. P in The Man Who Mistook His Wife for a Hat with UrbanArias. Of her performance in Il tabarro with Opera Theatre of Saint Louis, critics said, “Soprano Emily Pulley makes an auspicious Opera Theatre début as Giorgetta, perfectly capturing the character’s longing and conflict with a dark, almost mezzo voice and finely tuned acting.” As the Governess in The Turn of the Screw with Boston Lyric Opera, Opera News exclaimed, “Emily Pulley was outstanding as the embattled Governess. The role fits Pulley’s voice like a glove, and she captured the psychological complexity and heartbroken innocence of one of Britten’s great tragic characters.” As a champion of contemporary repertoire, Emily Pulley made her Houston Grand Opera début creating the role of Lysia in the world premiere of Mark Adamo’s new opera Lysistrata , which she then reprised for New York City Opera. She made her New York City Opera début as Lavinia Mannon in Mourning Becomes Electra for which she won the New York City Opera Richard F. Gold Début Artist Award. Additional contemporary engagements include the role of Peregrina in the world premiere of Vià Làctea with OperaBend, a John Cage anniversary event with the Center for Contemporary Opera in New York, and Bea in Jake Heggie’s Three Decembers for Urban Arias in Virginia, Des Moines Metro Opera, Central City Opera, and Fort Worth Opera. Also with UrbanArias, Ms. Pulley performed in a double bill of the title roles in Nora, In the Great Outdoors and Alice in the Time of Jabberwock and a double bill of Amahl and the Night Visitors and The Christmas Rose with Musica Sacra Atlanta. Operatic highlights include her return to Central City Opera as Julie in Showboat , a role she also covered at San Francisco Opera, Despina in Così fan tutte at the Nashville Opera, role débuts as Giorgetta in Il tabarro with Opera Theatre of Saint Louis, Leonora in Fidelio with Dayton Opera, Desdemona in Otello with Arizona Opera, Marguerite in Faust with Arizona Opera and New Orleans Opera, and the title role of Susannah with Central City Opera and The Wexford Festival in Ireland. Further highlights include Hanna Glawari in The Merry Widow with Kentucky Opera, Rosalinde in Die Fledermaus with Virginia Opera, Minnie in La fanciulla del West with Eugene Opera and Mobile Opera, Nedda in Pagliacci with Portland Opera and Atlanta Opera, the title role of Vanessa and Donna Elvira in Don Giovanni with Central City Opera, Agathe in Der Freischütz with Opera Boston, Blanche in Dialogues des Carmélites with Austin Lyric Opera, Sarah in Jake Heggie’s The End of the Affair for Lyric Opera of Kansas City, and her début at the Royal Opera House, Covent Garden as Mimì in La bohème . Notable concert engagements include Beethoven’s Symphony No. 9 with the Virginia Symphony Orchestra, Mahler’s Symphony No. 2 at the Chautauqua Institution, First Lady in Bernstein’s A White House Cantata with New York City’s Collegiate Chorale, Orff’s Carmina Burana with Portland Opera and Atlanta Opera, and the love duet from Tchaikovsky’s Romeo and Juliet with the Pacific Symphony. With a frequent presence at the Metropolitan Opera, Ms. Pulley’s roles in the legendary house included Marguerite in Faust , Nedda in Pagliacci , Blanche in Dialogues des Carmélites , Gretel in Hänsel und Gretel , Anne Trulove in The Rake’s Progress , Musetta in La bohème , Valencienne in The Merry Widow , Thérèse in Les mamelles de Tirésias , Shostakovich’s The Nose , and Erste Dame in a new production of Die Zauberflöte directed by Julie Taymor. A native of Texas, Ms. Pulley received the Richard F. Gold Career Grant from Central City Opera and the Jacobson Study Grant from the Richard Tucker Foundation. She is the 2006 recipient of New York City Opera’s Christopher Keene Award, recognizing an artist’s performance in new or unusual repertoire. Current as of August 2, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "Her voice is rich and her comedic timing is admirable." – BroadwayWorld Sweeney Todd – "Emily Pulley garners many laughs as the amicable Mrs Lovett. Her voice is rich and her comedic timing is admirable." __________ "...vocally lustrous and dramatically nuanced..." – Boston Globe Turn of the Screw – “As the governess sent to a remote home to look after two orphaned children, Emily Pulley gave a superb performance, vocally lustrous and dramatically nuanced, conveying a fierce determination to protect her charges but also a touching vulnerability as she slowly became unglued by the presence of evil spirits in her midst.” __________ "Her rich timbre offers a high register that rings through the house like steel..." – South Florida Classical Review Three Decembers – “The role of Madeline is a musico-theatrical tour de force... Emily Pulley... who played Beatrice in some of the opera’s previous stagings, seizes the opportunity to the fullest, delivering a vocally sumptuous performance. Pulley manages to humanize Madeline, underplaying the heroine’s unsympathetic side. Her rich timbre offers a high register that rings through the house like steel while encompassing the role’s varied vocal demands. In the score’s more Broadway-centric moments, Pulley radiates the ease of a natural chanteuse. Her stage presence is nothing short of charismatic. Even when she is silently reacting to her children’s anger, one’s attention is firmly focused on this gifted singing actress.” _______ "...she captured the psychological complexity and heartbroken innocence..." – Opera News Turn of the Screw – “Emily Pulley was outstanding as the embattled Governess. The role fits Pulley’s voice like a glove, and she captured the psychological complexity and heartbroken innocence of one of Britten’s great tragic characters.” _______ “‘...Heiss’ (‘hot’) was the right word for Pulley’s ‘Meine Lippen sie küssen so heiss’ (‘My lips they kiss so hot’)..." – Music in Cincinnati "Concert in Cincinnati" – “‘Heiss’ (‘hot’) was the right word for Pulley’s ‘Meine Lippen sie küssen so heiss’ (‘My lips they kiss so hot’) from Viennese Franz Lehar’s ‘Giuditta.’ She enlivened it even further kicking off her shoes and sprinting through the hall before singing her final vamp-like verse. Pulley’s ‘Song to the Moon’ from Dvořák’s ‘Rusalka’ was beautifully, diametrically opposed, with its heart-wrenching, earnest longing.” __________ "...Ms. Pulley made it her own with equal measures of wit and raw talent...” – Broadway World A White House Cantata – “Emily Pulley shone as all of the First Ladies, and earned an extended ovation after the famous ‘Duet for One,’ in which she played both Julia Grant and Lucy Hayes watching the inauguration of Rutherford Hayes. The song is a trial for any singer, and Ms. Pulley made it her own with equal measures of wit and raw talent.”

View artist profile - BASS-BARITONE ARTIST WEBSITE INSTAGRAM HUNTER ENOCH BASS-BARITONE BIOGRAPHY Bass-baritone Hunter Enoch is making his mark on stages across the United States with his “big, ringing voice and magnetic stage presence.” Last season, Mr. Enoch made his début with San Diego Opera singing Germont in La traviata , of which The San Diego Union-Tribune raved, “…Hunter Enoch was outstanding…Enoch has a huge and perfectly pitched voice that easily fills the 3,000-seat Civic Theatre and his performance of the beautiful second-act aria "Di Provenza il mar" was a show highlight.” He returned to the Dallas Symphony Orchestra for The Ring Cycle under the baton of Maestro Fabio Luisi, singing Donner in Das Rheingold and covering Mark Delavan’s Wotan in performances of Das Rheingold , Die Walküre , and Siegfried after singing Donner and covering Wotan in Das Rheingold and Die Walküre the previous spring. He also made his role début as Sweeney Todd with Holy City Arts & Lyric Opera, performed as the bass soloist for Mozart’s Requiem and Solemn Vespers at Carnegie Hall, and joined D.C. Choral Arts at the Kennedy Center for Beethoven’s Ninth Symphony . This season, Mr. Enoch joins Opera on the James to sing Sharpless in Madama Butterfly and the South Dakota Symphony for Messiah . In recent seasons, he sang Grégorio in Roméo et Juliette with Washington National Opera, Arthur Keller in the world premiere of Touch with Opera Birmingham, and Escamillo in Carmen with Jacksonville Symphony. Mr. Enoch made his début with Opera Theatre of Saint Louis as Scarpia in Tosca and returned the following summer to sing Pope Urban VIII in Galileo Galilei . He joined Pacific Northwest Opera as Iago in Otello and for his role début as Germont in La Traviata . He sang the title role in Le nozze di Figaro , the Mandarin in Turandot , and the Flemish Deputy in Don Carlo with Maryland Lyric Opera. And he performed Scarpia with Anchorage Opera and Donner in Das Rheingold with Miami Music Festival, both in productions which were postponed from 2020 due to COVID-19. Prior to the pandemic, he returned to Washington National Opera as Montano in Otello , he sang the role of Kurwenal in Act 2 of Tristan und Isolde with the National Symphony Orchestra under the baton of Gianandrea Noseda at both the Kennedy Center and at Lincoln Center, and he sang Palémon in Thaïs with Maryland Lyric Opera. READ MORE Mr. Enoch is an alum of the prestigious Cafritz Young Artist program at Washington National Opera. During his time with the company, he was engaged as Count Almaviva and Sharpless in the Cafritz performances of Le nozze di Figaro and Madama Butterfly , a Corporal in The Daughter of the Regiment , ADC in The Dictator’s Wife , and cover for Joseph De Rocher in Dead Man Walking . His WNO début was as Moralès in Carmen, and he was later heard as James Miller in the world premiere of Better Gods . While at WNO Mr. Enoch returned to The Glimmerglass Festival as a guest artist, singing Marcello in La bohème and covering the role of John Proctor in The Crucible , following his festival début as Sharpless in the Young Artist performance of Madama Butterfly the previous summer. After leaving the Cafritz program, he was heard as Zuniga in Carmen with Rochester Philharmonic, Escamillo in Carmen with The Washington Chorus at The Kennedy Center, and in Bernstein’s Songfest with National Symphony Orchestra. He made his Detroit Symphony Orchestra début as Ping in Turandot , followed by his role début as the Four Villains in Les contes d’Hoffmann at the Aspen Music Festival. Mr. Enoch then went on to sing the role of William Dale in Silent Night with WNO, make his company and role début as Scarpia for Opera Birmingham, and sing Happy in La Fanciulla del West and Raimondo in Lucia di Lammermoor for Maryland Lyric Opera. Other training includes an artist residency with the Academy of Vocal Arts, where he appeared as Taddeo in L’italiana in Algeri , Marcello in La bohème , and Valentin in Faust ; the Emerging Artist program at Virginia Opera where he sang Moralès in Carmen and Wig Maker in Ariadne auf Naxos ; Seattle Opera’s young artist program, where he sang Il Cavaliere di Belfiore in Un giorno di regno ; Chautauqua Opera as a Studio Artist; and two seasons in the Studio Artist program at Wolf Trap Opera. He earned his Bachelor of Music and Master of Music degrees from University of Cincinnati’s College-Conservatory of Music. Mr. Enoch appeared as a semifinalist in The Metropolitan Opera’s Laffont Competition and is the recipient of the Sullivan Foundation’s Career Development Award. Current as of June 25, 2025 CRITICAL ACCLAIM "...absolutely splendid..." – Opera News Tosca – Hunter Enoch’s Scarpia, though, was absolutely splendid. His vocal makeup was ideally suited to the assignment—a weighty dramatic baritone, utterly responsive throughout its range, with a trace of the “snarl” so essential to this role. In Act I, he wore the traditional powdered wig; in Act II, the wig removed, he showed himself to be a young, almost babyfaced man. This Scarpia hadn’t learned how to be evil; he was evil from birth. __________ "...vocally agile, displaying consummate control..." – Washington Classical Review Le nozze di Figaro – Bass-baritone Hunter Enoch headlined a strong cast of mostly MDLO regulars, with a polished performance as Figaro. His interpretation was vocally agile, displaying consummate control over the entirety of the role’s range, including powerful top notes. As the servant who ultimately outwits his bullying master, Enoch’s calm presence seethed with repressed resentment. __________ "...rock-solid vocally as all four of Hoffmann’s nemeses..." – The Aspen Times Les contes d'Hoffmann – Chief among the cast for sheer vocal presence and power were… and bass-baritone Hunter Enoch, rock-solid vocally as all four of Hoffmann’s nemeses, an oddly shaped red hair and beard identifying him as he lurked around the edges of every scene. He created a demonic aura every time he stepped forward. __________ "...Enoch brings the heat with an astounding performance..." – ReviewSTL Tosca – Another fresh arrival is Hunter Enoch. Playing Puccini’s heavy with great vigor, his sneering and snarling resonates with audiences who loathe Scarpia from his arrival onstage through his unfortunate demise. It is not easy playing the villain, but Enoch brings the heat with an astounding performance. Serving as the catalyst for the drama, he holds his own, matching Van Kooten and Stahley’s vocal potency. __________ "...Hunter Enoch regaled us with a thundering, orotund, delivery that rolled out with imposing authority..." – Opera Today Galileo Galilei – "In the multiple roles of Pope Urban VIII/Cardinal Barberini, Simplicio, and Father, bass-baritone Hunter Enoch regaled us with a thundering, orotund, delivery that rolled out with imposing authority. Moreover, Mr. Enoch was able to delineate these four characters with admirable distinction." __________ "...his wonderful work encapsulates the sternness and propriety required in the role ....." – ReviewSTL Galileo Galilei – "Groves’ work alongside Hunter Enoch is incomparable. Playing both the Pope and the pontiff’s younger self, his wonderful work encapsulates the sternness and propriety required in the role. His voice is majestic." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

View artists profile - BARITONE/DIRECTOR ARTIST WEBSITE FACEBOOK INSTAGRAM CURT OLDS BARITONE/DIRECTOR BIOGRAPHY Hailed by Opera News as “A wonderful singing actor, as adept in pointing dialogue as in phrasing song,” Curt is best known for his portrayal as both the Pirate King and Major General Stanley in The Pirates of Penzance, for which he has a combined total of 28 productions. Curt joined the International Tour of The Phantom of the Opera as Andre in January of 2019, which continued performances through the end of 2020 in Manila, Singapore, Kuala Lumpur, Tel Aviv, and South Korea. He continues with this same tour currently, recently visiting Bangkok, Mumbai, and major cities in China. During the hiatus of Phantom, Curt was named General Director for Fargo-Moorhead Opera for the 2023-2024 and 2024-2025 seasons, as well as being named the Director of Artistic Planning for Utah Festival Opera. He also returned to the Bigfork Summer Playhouse to direct 9 to 5 and appeared in the UFOMT productions of The Fantasticks and 33 Variations . READ MORE Recently, Olds reprised his classic performances of The Pirates of Penzance as Major General Stanley with Nashville Opera and the Pirate King with Anchorage Opera, in addition to performing as the Baker in Into the Woods with Tulsa Opera. The summer of 2023 marked the first season of Curt’s position as Director of Artistic Planning at Utah Festival Opera & Musical Theatre. He also directed the UIA Presents production of Sweeney Todd at Pacific Symphony. As a director, Olds also worked with UIA Presents on their production of My Fair Lady: In Concert as the Creator of Musical Staging and Adapting Director in performances with the Milwaukee Symphony, North Carolina Symphony, and Utah Symphony. He also directed Il barbiere di Siviglia for Utah Festival and a special revue he created for Central City Opera entitled Encore: A Musical Revue. Living up to his singing actor pedigree, Mr. Olds has experience on Broadway, Off-Broadway, and in regional and international houses. He played Monsieur Baurel in the workshop of An American in Paris directed by Tony Award-winner Christopher Wheeldon; Gus in the Original German Company of Cats ; Walt in Threepenny Opera starring Bea Arthur at NYC’s Lortel Theatre; Cecil in A Room With a View at NYC’s York Theatre; Mr. Lindquist in A Little Night Music at Boston’s North Shore Theatre; Bob Wallace in Irving Berlin’s White Christmas at Theatre on the Square; and he spent two years in the Broadway company of Riverdance . Other favorite theatre engagements include Pete Bartel in Pete ‘N’ Keely , Frank Butler in Annie Get Your Gun , Fred Graham in Kiss Me, Kate , Franklin Hart, Jr. in 9 to 5, The Musical , and the Baker in Into the Woods . A consummate “cross-over” artist, Olds has performed some theatre repertoire favorites on opera stages throughout the country including the Emcee in Cabaret at The Atlanta Opera , Anthony Hope in Sweeney Todd at Opera Omaha, Henry Higgins in My Fair Lady at Ash Lawn Opera, Will Parker in Oklahoma! and Frank Schultz in Show Boat at Central City Opera, Herman in The Most Happy Fella with Tulsa Opera, Max in The Sound of Music with Anchorage Opera, Luther Billis in South Pacific with Hawaii Opera Theatre, Harold Hill in The Music Man with Utah Festival Opera & Musical Theatre, Nathan Detroit in Guys and Dolls with New Haven Symphony, Petruchio/Fred in Kiss Me, Kate at MCT, Inc., Roy Johnson in The Light in the Piazza with Central City Opera, and Bob Wallace in Irving Berlin’s White Christmas at Little Theatre on the Square. Olds is also in demand and has garnered international acclaim for his creative portrayals of an array of characters in the operetta repertoire. Career highlights include such performances as: Captain Corcoran in H.M.S. Pinafore with Eugene Opera, Arizona Opera, and Central City Opera; Ko-Ko in The Mikado with Hawaii Opera Theatre, Central City Opera, Opera New Jersey, Arizona Opera, and Anchorage Opera; The Pirate King in The Pirates of Penzance with Edmonton Opera, Lake George Opera, Hawaii Opera Theatre, and Arizona Opera; Pangloss/Voltaire in Candide with the New England Conservatory; Falke in Die Fledermaus at Lake George Opera; Dick McGann in Street Scene at Central City Opera; Pangloss/Voltaire/ Martin/Cacambo/Candide in Candide with Arizona Opera, Anchorage Opera, and in concert with the South Dakota Symphony; Major General Stanley in The Pirates of Penzance with The Atlanta Opera, Intermountain Opera, Nashville Opera, and Utah Festival Opera & Musical Theatre, among others; Papageno in Die Zauberflöte with Hawaii Opera Theatre; and Njegus in The Merry Widow for Utah Opera. On the concert stage, Olds performed Orff’s Carmina Burana with Boston Symphony Pro Musica, Händel’s Chandos Anthem No. 5 at the Omaha Symphony, in an all Gilbert and Sullivan concert with Cincinnati Opera, in a gala with Wolf Trap Opera, in a Purcell recital with Anchorage Opera, in Madison Theater Christmas Celebration: A Home for the Holidays at Madison Theater, and in New York City Opera’s Fach’d Up concert. Additionally, Olds is seen regularly on Pops stages throughout the U.S. including Ridgefield Symphony, Brazos Symphony, Jacksonville Symphony, Colorado Symphony, New Haven Symphony, Omaha Symphony, and New Jersey Symphony. He made his New York recital début at the Metropolitan Museum of Art with Gerald Steichen at the piano. Gaining momentum as a recording and voice-over artist, Olds recorded commercials and promotional materials with clients including Planet Hollywood Casinos, Books Beyond Pages, Ethan Allen Furniture, and the syndicated PBS feature Northwest Explorer . Curt is also featured on the soundtrack of the Disney animated film A Christmas Carol starring Kate Winslet and Nicholas Cage. As a director, Mr. Olds has directed productions of My Fair Lady , The Mikado , Spamalot! , Joseph and the Amazing Technicolor Dreamcoat , Cats , Carmen , Dirty Rotten Scoundrels , The Pirates of Penzance , and more at regional theatres and in educational institutions. He has also given a variety of masterclasses at young artist programs and universities, demonstrating an investment in emerging talents in the performing arts. Curt holds a Master of Music degree in Vocal Performance from The New England Conservatory of Music in Boston and was a regional finalist in the Metropolitan Opera National Council Auditions. He was also a winner in Portland Opera’s Lieber Awards and was named McGlone Artist of the Year at Central City Opera. Current as of September 19, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony Aaron Sanko Film/TV/Theatre CRITICAL ACCLAIM "... marvelous vocal control..." – ArtsKnoxville Cabaret – “Embodying the symbolism of decadence was the Emcee, played here by Olds with a delicious slinking slyness that often exploded through his marvelous vocal control. It was this control that allowed him to present a gamut of emotions, from lyrical presenter to harsh victim of his own making." __________ "...wonderful singing actor as adept in pointing dialog as in phrasing song..." – Opera News Die Fledermaus – “Curt Olds, a dapper, lively Falke, is a wonderful singing actor as adept in pointing dialog as in phrasing song.” __________ "...shining performance..." – Courier-Journal The Mikado – “Olds’ shining performance compels in his comic timing, conveying physical humor (particularly in his opening song where he has to carry a large, heavy ax) and using his vocal chops carrying the tunes and the witty intent of the lyrics. Because he is often a blustery buffoon, unexpectedly his performance became deeply moving when Ko-Ko spied Nanki-Poo and Yum-Yum flirting and his heartbroken state was evident as he tried to hide his face. Olds particularly dazzled when he sang ‘As some day it may happen,’ in which he lists all offenders of society who “who never would be missed” if he executed them.” __________ "...entrancing in both singing and acting..." – Honolulu Advertiser Pirates of Penzance – “Curt Olds was back, and just as entrancing in both singing and acting. His role seemed written for him, his light, firm baritone creating a most civilized rogue, handsome and uniformly charming.” __________ "...smooth and light baritone ... – The Register-Guard H.M.S. Pinafore – "Curt Olds’ supposedly well-bred Captain Corcoran captured hearts from his first aria “I am the Captain of the Pinafore.” His smooth and light baritone paired well with the funny antics Olds engaged in — from puking in a bucket to frantically whipping his ship with a cat (o’ nine tails)." __________ "...immediately entertaining..." – Star Advertiser The Magic Flute – “Olds is immediately entertaining as the comic sidekick but plays his serious scenes with equal finesse.”

View artist profile - SOPRANO ARTIST WEBSITE FACEBOOK LAQUITA MITCHELL SOPRANO BIOGRAPHY Soprano Laquita Mitchell consistently earns acclaim on eminent international opera and concert stages worldwide, having recently been nominated for a Grammy for her contribution as the soprano soloist in the world premiere of Pulitzer Prize-winning composer Paul Moravec’s Sanctuary Road at Carnegie Hall with Oratorio Society of New York. Last season, she made her long-awaited début as Aida with Dayton Opera. She also joined California Symphony for Beethoven’s Symphony No. 9 , Charleston Symphony for Sanctuary Road , the Bilkent Symphony in Turkey for a concert of American songs, Cleveland Orchestra for their 45 th Annual Martin Luther King Jr. Celebration Concert, and Austin Symphony to sing Bess in a concert production of Porgy and Bess . This season, Ms. Mitchell takes the concert stage by storm in Strauss’ Four Last Songs with Berkeley Symphony Orchestra, Dvorak’s Te Deum and Beethoven’s Choral Fantasy with Charleston Symphony Orchestra, Porgy and Bess with Greenville Symphony Orchestra, and sings the world premiere of Nkeiru Okoye’s A Time for Jubilee with Montgomery Symphony Orchestra and later Tuscaloosa Symphony Orchestra, a new work honoring the spirit of resilience and freedom. READ MORE Mitchell recently returned to the role of Countess in Le nozze di Figaro with New Orleans Opera and Portland Opera and reprised her lauded performance of Sanctuary Road with Virginia Opera, Princeton Pro Musica, and the Bach Festival Society of Winter Park. She also appeared in concert with Saint Thomas Church for Poulenc’s Stabat Mater , Chattanooga Symphony for Beethoven’s Symphony No. 9 , the Cleveland Orchestra for their community chamber concert series, the Waterbury Symphony for their performance of Mahler’s Symphony No. 4 , and Bard Summerscape to sing Verveine in Viardot’s chamber opera Le dernier sorcier . Previously, Mitchell reprised “Julie” in Omar with UNC Chapel Hill at Carolina Performing Arts – a role she created in the world premiere at the Spoleto Festival USA the previous season – and returned to the role of Josephine Baker in Cipullo’s Josephine with Music of Remembrance. In concert, Ms. Mitchell performed Samuel Barber’s Knoxville: Summer of 1915 with Detroit Symphony and Lima Symphony, Beethoven’s Symphony No. 9 with the Madison Symphony and Memphis Symphony, Mahler’s Symphony No. 4 with Sarasota Orchestra, Sanctuary Road with the Vocal Arts Ensemble of Cincinnati and Chautauqua Symphony, Verdi’s Requiem with Rhode Island Philharmonic and Buffalo Philharmonic, Tippet’s A Child of Our Time with Duluth Superior Symphony Orchestra, and Dett’s The Ordering of Moses with the Cincinnati May Festival and the Bach Festival Society of Winter Park. She sang Brahms’ Requiem and a Bel Canto Gala with Albany Pro Musica; a Holiday Concert for the Princeton Symphony; Robinetta in On Site Opera’s production of Rachel J. Peters’s Lesson Plan ; the title role in Tom Cipullo’s Josephine for the New Orleans Opera and Opera Colorado, where it was presented alongside The Promise of Living , a concert program conceived by Ms. Mitchell; Bess in Porgy and Bess with Grange Park Opera in the UK, Lithuanian State Symphony, Detroit Symphony, and Baltimore Symphony; a reprisal of Sanctuary Road with the Columbus Symphony; a Gala Concert for Colorado Symphony; and Mahler’s Symphony No. 4 and Barber's Knoxville: Summer 1915 with the Augusta Symphony. Mitchell appeared in New York Philharmonic’s Bandwagon concerts and the Kauffmann Music Center’s Musical Storefront series as part of New York City’s Pop-Up Arts Revival. She performed Mahler’s Symphony No.4 for Rhode Island Philharmonic, the soprano solo for the opening night concert of Classical Tahoe's Tenth Anniversary season, as well as in Bard Music Festival’s concert performances of Nadia Boulanger and Her World . Notable previous engagements include the role of Coretta Scott King in I Dream with Opera Grand Rapids, Toledo Opera, and Opera Carolina, Violetta in La Traviata with Opera Memphis, New York City Opera, and Edmonton Opera, and Donna Anna in Don Giovanni with Florentine Opera and Portland Opera. Recent concert engagements include the soprano solo in Beethoven’s Symphony No. 9 with Berkeley Symphony, Mahler’s Symphony No. 2 with Missoula Symphony, and her return to the Philadelphia Orchestra to perform in their Academy Ball alongside Steve Martin, led by Yannick Nézet-Séguin. In her compelling début as Bess in Porgy and Bess with San Francisco Opera, Opera News said “Laquita Mitchell, in her first outing as Bess, dazzled the SFO audience with her purity of tone and vivid theatrical presence.” She has since reprised the role with The Atlanta Opera, The Tanglewood Festival, Madison Symphony, Boston Symphony Orchestra, Cleveland Orchestra, Toledo Opera, Springfield Symphony, Baltimore Symphony, Santa Barbara Symphony, Jacksonville Symphony, Sheboygan Symphony Orchestra, Traverse City Symphony, the Margaret Island Open-Air Theatre in Budapest for their summer festival, and as the season opener for the Energa Sopot Classic Festival with the Polish Chamber Philharmonic Orchestra. Additionally, PBS invited Ms. Mitchell to perform a solo recital including excerpts from Porgy and Bess with pianist Craig Terry for the Television Critics Association Press Tour in Los Angeles in preparation for the broadcast and DVD release of SFO’s Porgy and Bess . In her role début as Violetta in La Traviata with New York City Opera, she was labeled “extraordinary,” thanks to her “wide expressive range and big-hearted sound that contains just a hint of sexy smokiness. Her ‘Sempre libera’ was enlivened by a rhythmic clarity that made it seem almost danceable.” Other appearances include Leonora in Il trovatore in South Carolina and with Nashville Opera; Countess in Le nozze di Figaro with Toledo Opera; Sharon in Terrance McNally’s Master Class at The Kennedy Center; Musetta in La bohème in a return to Los Angeles Opera; Mimì in La bohème with Cincinnati Opera and at the Utah Symphony and Opera; Donna Anna in Don Giovanni with Florentine Opera, Portland Opera, and Opera New Jersey; Clara in Porgy and Bess with Los Angeles Opera, Washington National Opera, Opéra Comique in Paris, and on tour in Caen and Granada, Spain; and Micaëla in Carmen with New York City Opera, Opera Pacific, and most recently Cincinnati Opera, where the Cincinnati Enquirer raved, “Mitchell shone in the role of Micaëla... She was a natural actress and sang with expressive beauty whenever she was onstage.” An active concert artist, Ms. Mitchell’s recent performances include: Beethoven’s Symphony No. 9 with the Philadelphia Orchestra at Saratoga Performing Arts Center; Over the Rainbow – an evening honoring Harold Arlen at Weill Recital Hall at Carnegie Hall; Barber’s Knoxville: Summer of 1915 with the Louisville Orchestra; a début with the New World Symphony in Alberto Ginastera’s Cantata para América Mágica ; the world premiere of composer Steven Stucky’s August 4, 1964 with Dallas Symphony Orchestra; her Boston Symphony Orchestra début as the soprano soloist in Wynton Marsalis’ All Rise under the direction of Kurt Masur; and the soprano solo in Tippett’s A Child of our Time with the Washington Chorus at Kennedy Center. She has also performed with the Philadelphia Orchestra, New Jersey Symphony, Princeton Symphony Orchestra, the New York Symphonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State Philharmonic. Additionally, she performs in recitals annually at Harare International Festival of the Arts in Zimbabwe. Ms. Mitchell is an alumna of the Houston Grand Opera Studio, where she performed a variety of roles including stand-out performances in contemporary operas such as Orquidea in Daniel Catán’s Salsipuedes (world premiere), Myrrhine in Mark Adamo’s Lysistrata (world premiere) , Barena in David Alden’s production of Jenůfa , and The Water in Rachel Portman’s The Little Prince (world premiere) directed by Francesca Zambello and conducted by Patrick Summers. Ms. Mitchell was previously a member of San Francisco Opera’s world-renowned Merola Program. She then joined Wolf Trap Opera in performances as Alice Ford in Salieri’s Falstaff , Donna Elvira in Don Giovanni , and presented a recital with renowned pianist Steven Blier. A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner and was awarded a Sara Tucker Award. She was also the First Prize Winner of the Wiener Kammeroper’s Hans Gabor Belvedere Competition, making her the first American to win this competition in more than twenty years. Additionally, Ms. Mitchell was the First Prize Winner of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, as well as the winner of the Audience Choice award. Ms. Mitchell holds a Master of Music degree and a Professional Studies Certificate from the Manhattan School of Music and completed undergraduate studies at Westminster Choir College. Current as of September 1, 2025 CRITICAL ACCLAIM "emerged with welcome clarity." – Opera News Josephine – "In Josephine, Laquita Mitchell looked ravishing, coming close to capturing performer Josephine Baker's unstoppable vitality...Her scattered quiet moments or spoken words emerged with welcome clarity." __________ "a smooth-voiced and soothing presence" – The New York Times Omar – "Julie (the soprano Laquita Mitchell, a smooth-voiced and soothing presence), who escapes from the slave market in Charleston but urges Said to meet her in Fayetteville, N.C., at Owen’s property. When they reunite there, she explains why she was helping him to begin with, in the opera’s finest aria, which begins with the line 'My daddy wore a cap like yours.'" __________ "...showed off a supple and refined soprano as Bess..." – Boston Globe Porgy and Bess – “Laquita Mitchell showed off a supple and refined soprano as Bess, infusing the role with a touching vulnerability and innocence yet at the same time an awareness of her own weakness that gave her portrayal a weightier pull.” __________ "...the most purely gorgeous piece of the evening..." – Opera News Sanctuary Road – “…and the gleaming soprano Laquita Mitchell gave a captivating, heartfelt plea for "Rain," in what was the most purely gorgeous piece of the evening” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

View artist profile - TENOR ARTIST WEBSITE INSTAGRAM YOUTUBE MICHAEL KUHN TENOR BIOGRAPHY Having appeared on the stages of Broadway, Carnegie Hall, Lincoln Center, and many more, Michael Kuhn is a versatile actor and singer, praised for his "clear and robust" tenor (Opera News) and described as “an artist of almost terrifying magnetism” (The Observer). In the 2025-26 season, Michael will debut with Kentucky Opera as Piquillo in Songbird , return to Prototype Festival to premiere the role of Fiancé in Susan Zeeman Rogers/Rima Fand’s Precipice , and make an exciting role debut with Opera Montana. In Summer 2025, Michael was pleased to debut the role of Prince Dauntless in Once Upon a Mattress in a return to Central City Opera, where he once trained as an apprentice artist. Michael recently made his Broadway debut in the revival of Sweeney Todd , understudying the role of Adolfo Pirelli and appearing in the ensemble. He made his principal artist debut with Des Moines Metro Opera, appearing as Francis Flute in Britten’s A Midsummer Night’s Dream ; a performance in which he was praised for his “fresh and attractive lyric tenor” (Opera Today). Other notable appearances have included returns to both Opera Omaha as Tobias in Sweeney Todd , a role he also performed in concert with UIA Presents at Pacific Symphony, and New York’s On Site Opera as Gherardo in Gianni Schicchi . Other New York City appearances include Basel in two hit Off-Broadway runs of ¡Figaro! 90210 , Romano in the world premiere of Stonewall with New York City Opera, and Male Chorus in The Rape of Lucretia with LoftOpera. READ MORE Michael has performed throughout the US at companies such as Opera Theatre of St. Louis, Des Moines Metro Opera, Opera Omaha, Florida Grand Opera, Central City Opera, Virginia Opera, Syracuse Opera, The Caramoor Festival, The Princeton Festival, Opera in The Heights, Livermore Valley Opera, and more. He made his international debut with France’s Festival Lyrique-en-mer, appearing as Spoletta in Tosca , Normanno in Lucia di Lammermoor and as the tenor soloist in Haydn’s Lord Nelson Mass . In concert, Michael has appeared at Carnegie Hall as the tenor soloist in Haydn’s Mariazellermesse . He was heard both nationally via broadcast and in Jordan Hall in the world premiere of Illuminessence , Prayers for Peace , a Vatican-commissioned oratorio. He has also appeared with the Omaha Symphony, MidAmerica Productions at Carnegie Hall, The Carolina Philharmonic, Cape Symphony, Atlantic Symphony Orchestra, Symphony by the Sea, Bourbon Baroque, The New York Choral Society, St. George’s Choral Society, and the Grace Chorale of Brooklyn. A passionate recitalist, Michael recently debuted his self-directed performance project, in collaboration with pianist Thomas Weaver, at the Massachusetts Museum of Contemporary Art (MASS MoCA) titled Nacht und Träume , a staged recital of German lieder representing a journey through a night of vivid dreaming. He reprised the performance with The Kaufman Music Center as part of their Musical Storefronts series. Michael is a native of Crofton, MD and currently resides in New York City. He is an alumnus of the New England Conservatory (MM Vocal Performance) and Syracuse University (BM Music Industry). Current as of September 30, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

View artist profile - TENOR ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM BERNARD HOLCOMB TENOR BIOGRAPHY Tenor Bernard Holcomb has “already made a name for himself in the world of opera” with his “delicate and flexible” voice ( Opera Wire) and the “appealing sweetness and clarity [of] his tone” ( The New York Times ). Katy Walsh of Chicago Theater Beat said it best: “Although everyone [at Lyric Opera of Chicago] can sing, Holcomb reminds us why we come to the Lyric.” Last season, Mr. Holcomb returned to the Metropolitan Opera to sing the Fourth Jew in Salome and to Eugene Opera to sing the Duke of Mantua in Rigoletto . He joined Heartbeat Opera for Slaylem: The Witch Trials and Opera Parallele in the title role of The Pigeon Keeper . He also made three appearances at Carnegie Hall in Mozart’s Coronation Mass with MidAmerica Productions, Robert Ray’s Gospel Mass with Manhattan Concert Productions, and Strauss’ Guntram with the American Symphony Orchestra. In the summer, he returned to Central City Opera as the Minstrel in Once Upon a Mattress , and he joined the Savannah Voice Festival to reprise his Duke in Rigoletto . Next season, Mr. Holcomb joins the Monterey Symphony for their 80th anniversary season-opening concert, Opera Southwest for Mozart’s Mass in C Minor , and Richmond Symphony for Damien Geter’s African American Requiem . He also joins the Lyric Opera of Kansas City as Robbins and Crab Man in Porgy and Bess and as Carlson and Lennie (cover) in Of Mice and Men .. READ MORE Recently, Mr. Holcomb returned to the Metropolitan Opera for both X: The Life and Times of Malcom X and Fire Shut Up in My Bones , following his Met début in the previous season in Terence Blanchard and Michael Cristofer’s Champion . He joined On Site Opera to sing the Curator in Song of the Nightingale , the Narrator in their Bach pastiche Coffee Cantata , and Harlekin in Der Kaiser von Atlantis . He sang Alfredo in La Traviata with Eugene Opera, workshopped the title role in The Pigeon Keeper with Santa Fe Opera, performed as Beadle Bamford in Pacific Symphony’s Sweeney Todd produced by UIA Presents, and made his house début at Opera Omaha in X: The Life and Times of Malcolm X. He joined Central City Opera in consecutive summer to perform as Henry Davis in Street Scene and Iago in Rossini’s Otello. In concert, he sang Elijah with Hilton Head Symphony Orchestra, Adolphus Hailstork’s A Knee on the Neck with New York Choral Society, a holiday concert with the Cincinnati Pops under the baton of Mo. John Morris Russel, Jacksonville Symphony’s concert Lush Life: Duke Ellington and Billy Strayhorn , as well as Damien Geter’s An African American Requiem with Fort Worth Opera, after having appeared in its world premiere in the 21-22 season. He also made his network television début on the 25th season of Law and Order: SVU . Previously, Mr. Holcomb joined Opera Carolina for Douglas Tappin’s opera I Dream and made his début with Portland Opera, reprising the role of Kevin Richardson in Central Park Five following the world premiere with Long Beach Opera. He also returned to the Dallas Symphony as a soloist in Lush Life: Duke Ellington and Billy Strayhorn , Detroit Opera for their production of X: The Life and Times of Malcolm X , and Lakes Area Music Festival as the Tanzmeister in Ariadne auf Naxos . In concert, Mr. Holcomb performed Beethoven’s Symphony No. 9 with St. John the Divine, Bach’s Magnificat and Mozart’s Mass in C Minor with Musica Sacra, and Damien Geter’s An African American Requiem in its world premiere with both the Resonance Ensemble and the Oregon Symphony. He also toured Europe with the Harlem Gospel Choir and joined the New York Choral Society for their concert Love in Action . Holcomb also reprised his performance of Dancing in the Street: The Music of Motown for the Dallas Symphony, Buffalo Philharmonic, and Greensboro Symphony. Recent milestones include Captain Leadbetter in the world premiere of Emerson Eads and Dave Hunsaker’s Princess Sophia with Project Orpheus, his long-awaited Carnegie Hall début, his title role début in Rossini’s Otello , and his début at the Dresden Semperoper in Porgy and Bess . Other recent engagements include Rigoletto with Seattle Opera, Porgy and Bess in Italy with New York Harlem Productions, the role of Lechmere in Owen Wingrave with Little Opera Theater of NY, a soloist in Gershwin’s Blue Monday with On Site Opera, a soloist in Lush Life: Duke Ellington and Billy Strayhorn with Austin Symphony and The Florida Orchestra, and the role of Sportin’ Life in Porgy and Bess with Harrisburg Symphony. Mr. Holcomb performed with Sphinx Connect, as a soloist in Christian De Gré Cárdenas’ Twisted Operettas at Joe's Pub, Poul Ruders’ The Thirteenth Child with Santa Fe Opera at the Guggenheim Museum in New York, BMP: Next Generation with Beth Morrison Projects, Chicago Opera Theater as Tristan in Frank Martin's Le vin herbé , and he was featured as a soloist with Renée Fleming and Sir Patrick Stewart in Second City’s Guide to the Opera . New York theater credits include Thomas (lead) in Whiskey Pants: The Mayor of Williamsburg Off-Broadway and Tom Collins in Rent. He also performed as Sportin’ Life in the international tour of Porgy and Bess and in productions of Company and Sweeney Todd . An alumnus of the Lyric Opera of Chicago’s Patrick G. and Shirley W. Ryan Opera Center, Bernard performed such roles as Ernesto in Don Pasquale and Rodolfo in La bohème . During his Lyric tenure, Mr. Holcomb appeared in main stage performances of Elektra , Simon Boccanegra , Don Pasquale , and Les contes d’Hoffmann , and he covered major roles in Werther , Die Meistersinger von Nürnberg , and Rigoletto . As part of the Young Artist program at Sarasota Opera, Bernard appeared in main stage performances of Pagliacci , The Crucible , L’amico Fritz, and I Lombardi . At the end of the program, he was awarded with the Anne O’Donnell Award, given to an outstanding apprentice. Other notable engagements include Paolino in Cimarosa’s Il matrimonio segreto and Alfredo in La Traviata with Pine Mountain Music Festival; the Crabman in Porgy and Bess , which led to an international tour through Russia, Poland, Greece, Latvia, Estonia, and Germany; and Gastone in La Traviata with Detroit Opera. Bernard also appeared on several themed song recitals as part of a collaboration between Lyric Opera of Chicago and Chicago’s WFMT 98.7. Mr. Holcomb has displayed tremendous musicianship and poise on concert and recital stages. These credits include a concert performance of La bohème with Civic Orchestra of Chicago, Holiday Pops Concerts with the New Hampshire Symphony Orchestra, a concert performance of Die Zauberflöte with The Rochester Philharmonic Orchestra, Augustus Hill’s Exegesis with the Detroit Symphony Orchestra, Beethoven’s Symphony No. 9 with Macon Symphony Orchestra and the Illinois Philharmonic, and Mozart’s Requiem with the DeKalb Festival Chorus. A winner of the Metropolitan Opera Laffont Competition (Michigan District), the Detroit native currently residing in NYC has earned a Master of Music degree from the University of Michigan and a Bachelor of Music degree from the Eastman School of Music. Current as of July 1, 2025 CRITICAL ACCLAIM "...lively and mischievously drawn..." - Opéra Magazine ---------- "...endearing presence on stage..." – Theater Jones Dancing in the Street: The Music of Motown – “Bernard Holcomb is an affectionate and conscious steward of the material. He’s an endearing presence on stage, with a control that must stem from his operatic background. With a bright rounded lyric baritone, he finesses James Brown’s “It’s a Man’s Man’s Man’s World” (a number that also includes a positively sensual tenor sax solo) and provides the evening’s emotional highlight with a lovely interpretation of “Song for You,” as performed by Donny Hathaway.” __________ "...warm tenor voice imbued [...] quiet dignity and down-to-earth humanity.”" – LA Times The Love Potion – “The solid cast was led by Bernard Holcomb, whose warm tenor voice imbued the tormented Tristan with quiet dignity and down-to-earth humanity.” __________ "...appealing sweetness and clarity to his tone...” – New York Times Otello – “…there was an appealing sweetness and clarity to his tone…In the course of the evening his voice gained vibrancy and intensity, matching his character’s descent into manipulated madness.” __________ "...open, vibrant instrument..." – Cadenza Owen Wingrave – "...as Lechmere, tenor Bernard Holcomb is given a lot to do with his open, vibrant instrument. __________ "... the pleasure he draws from his art is always bracing." – New City Stage The Emperor of Atlantis & The Clever One – “Joy bounces off tenor Bernard Holcomb like a skylight beacon accidentally aimed at an individual instead of a cloud, and even when playing a sad moment, the pleasure he draws from his art is always bracing” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General Aaron Sanko Film/TV/Theatre