View artist profile - COMPOSER INSTAGRAM DISCOVERY DAN GIBSON COMPOSER BIOGRAPHY Dan Gibson is a composer, music director, and arts educator. Currently in development with Drama Club Productions, Discovery (book/lyrics by Alex Higgin-Houser) DiscoveryMusical.com. Present and past artistic homes: Arts Center of Coastal Carolina, Flat Rock Playhouse, Ivoryton Playhouse, Royal Caribbean Productions, Enlightened Theatrics. Dan has served as a Visiting Professor and Music Director at Elon University, where Gibson and Higgin-Houser's Beast Mode Champion: The Pro-Wrestling Rock Musical made its workshop premier, and where he created Elon's first Musical Theatre Songwriting course. MFA NYU Graduate Musical Theatre Writing Program, BFA Elon Music Theatre, BMI Musical Theatre Workshop, AEA, The Dramatists Guild. DanGibsonMusic.com FULL PRESS KIT LATEST NEWS REPRESENTATIVES Aaron Sanko CEO & Partner

View artists profile - ACTOR ACTOR'S ACCESS ARTIST WEBSITE INSTAGRAM YOUTUBE GILLIAN BELL ACTOR BIOGRAPHY Gillian Bell is a Brooklyn, New York-based singer who demonstrates a great deal of versatility as a performer with credits in musical theater, opera, concert, and jazz. She most recently performed the role of Betty Haynes in the holiday classic White Christmas at New Bedford Festival Theater. Previously, she appeared in their production of Beauty and the Beast as Mrs. Potts. Regional credits and favorite roles include Sondheim on Sondheim at Theater 2020 Brooklyn; Les Miserables (Hair Hag, Female Swing) at Merry-Go-Round Playhouse/The Rev; Les Miserables (Factory Girl, Female Swing) at Arts Center of Coastal Carolina; The Last Five Years (Cathy) at Haywood Arts Regional Theatre NC & Stella Adler NYC; Company (Marta); Assassins (Emma Goldman); Agnes of God (Agnes). READ MORE Gillian has had the opportunity to perform in several new works including the role of Desiree in Then She Ran (Cartusciello/Becker) for Scranton Fringe Festival; Joy (Filette/Zucker) for the Berklee NYC New Musical Showcase; an NYU Graduate Thesis Reading of Iron John (Greywoode/Hart); and an industry reading of The Talented Mr. Ripley (Bonsignore/Kenny) presented also for ASCAP & Stephen Schwartz. Gillian is a graduate of the Eastman School of Music where she received Bachelor and Master of Music Degrees in Vocal Performance. She was a featured performer at the Chelsea Music Festival with conductor Ken-David Masur where she premiered J.P Redmond’s song cycle Wilt Thou Therefore Rise. She performed Handel’s Messiah and Bach’s Magnificat as a soloist and choir member annually with the Central Presbyterian Church Chorale from 2011-2019. Favorite opera roles include Serpetta in La finta giardiniera, Dorothée in Cendrillon, and Bianca in La rondine. Gillian is no stranger to the live music scene. She performed her sold-out solo cabaret I’m Here to Sing at Rockwood Music Hall Stage 3. Gillian was the lead singer for The Porter Project: The Undiscovered Melodies of Cole Porter which performed throughout Manhattan, Brooklyn, and regionally. She self-produced her début album Exhibition and sang additional vocals for folk rock band Waiting for Jerry’s self-titled album. She can be found on iTunes and Spotify with her cover of Joni Mitchell’s Both Sides Now. Current as of August 2, 2023 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 INSTAGRAM YOUTUBE RAINELLE KRAUSE (1987 – 2026) SOPRANO BIOGRAPHY Rainelle Krause (1987 – 2026) It is with profound sadness that we share the passing of our UIA family and opera community member, Rainelle Krause. Rainelle was a radiant artist whose extraordinary promise was only just beginning to unfold. Having recently made her debut at the Metropolitan Opera as the Queen of the Night, she stood at the threshold of what we all knew would be a remarkable career. It was a privilege to represent and work with Rainelle. Yet what we will remember most is not only her exceptional voice, but that she was a shining light in our artistic family, whose warmth, sincerity, and generosity of spirit touched all who knew her. Taken from us far too soon, she will be deeply missed and always remembered with great affection. Our hearts are with her family, friends, and all who knew and loved her during this incredibly difficult time. Rest in power, beautiful Queen. READ MORE Known for her pristine, fiery coloratura, soprano Rainelle Krause brings an unflinching ferocity coupled with a deeply truthful humanity to the stage. She recently impressed audiences and critics alike at her début with Nashville Opera in the title role of Donizetti’s Lucia , where she was hailed as “a dream” by Music City Review. Her signature role, Die Königin der Nacht in Die Zauberflöte , was well-received at The Atlanta Opera, with Opera Magazine noting her “elegant” coloratura. Last season at English National Opera , Opera Magazine also praised her as “formidable”, her “bright, ringing coloratura…enough to instill fear into any living being.” The Guardian dubbed her voice “diamantine.” Previous seasons for Ms. Krause brought several significant appearances as Die Königin der Nacht at Royal Danish Opera, Dutch National Opera, Staatsoper Berlin Unter den Linden, Nashville Opera, and at Les Arts, València. She has also brought her in-demand Königin to Deutsche Oper Berlin, Theater Basel, Oper Köln, Opera Orchestre Montpellier Occitanie, North Carolina Opera, and The Metropolitan Opera (cover). This season, she reprises her celebrated Königin in company débuts with The Metropolitan Opera, Santa Fe Opera, St. Louis Symphony, Opera Atelier, and presents a number of Mozart arias in concert with English National Opera. Other recent highlights include her guest artist appearance with English National Opera’s BBC Proms concert “Horrible Histories: ‘Orrible Opera”, soprano soloist for the Brevard Music Festival’s Carmina Burana under Maestra JoAnn Falletta, Oscar in Un ballo in maschera at Royal Danish Opera, the Princess in The Snow Queen at Concertgebouw Amsterdam under the baton of Kent Nagano, Tania in Al gran sole carico d'amore with Theater Basel, Pat Nixon in Nixon in China at The Princeton Festival, and featured artist for Opus Opera’s event, Mystique , a circus and opera collaboration. Ms. Krause has been awarded First Place in the Fielder Grant Competition, Third Place and Audience Favorite in the Orpheus Competition, and has been chosen as one of four winners in the Texas Camerata’s Baroque Aria Competition. She was a finalist in the Lois Alba Competition in Houston as well as the International Mildred Miller Competition in Pittsburgh, a Regional Finalist with the Metropolitan National Council Auditions in New Orleans and St. Louis, and a semi-finalist with the Licia Albanese Puccini Foundation and Gari Foundation competitions in New York City. Some of Ms. Krause’s concert credits include a concert version of La Traviata with the Irving Symphony Orchestra, Beethoven's Ninth Symphony with the Plano Symphony Orchestra, Bach’s Jauchzet Gott with members of the Virginia Symphony Orchestra, Vaughan Williams' Dona nobis pacem and Haydn's Pauken messe with the Amarillo Master Chorale, and Orff’s Carmina burana with the Plano Symphony. Current as of June 12, 2025 CRITICAL ACCLAIM "...her [elegant] coloratura..." – Opera Magazine Die Zauberflöte – “As the Queen of the night, Rainelle Krause sang ‘Der Hölle Rache’ with precision, her coloratura elegant.” __________ "...quite breathtaking..." – ArtsATL and AJC Die Zauberflöte – "Rainelle Krause brought a dramatic coloratura to the role of the Queen with laser-focused high notes and a pointillist exactitude in negotiating Mozart’s inhumanly difficult arias. It’s quite breathtaking, and Krause was rewarded with rapturous applause." __________ "...her impressive coloratura and crystal-clear high notes were a dream." – Music City Review Lucia di Lammermoor – “I cannot say enough about Rainelle’s constant, clear, healthy sound. The Mad Scene alone is over twenty minutes long, and her impressive coloratura and crystal-clear high notes were a dream.” __________ "...[a] breathtaking soprano..." – The Frenetic Peripatetic Lucia di Lammermoor – “I hoped to see Rainelle Krause on stage again. Those hopes were made real when I endured the threatening storms gathering outside to witness the breathtaking soprano in her role debut as the title character. Krause conveys the full gamut of emotion and expression as she adeptly vacillates from love and hope to despair and madness with her brilliant coloraturas. It seems that the challenge of a role debut has only served to ignite and inspire what might be something of a renaissance in a performer who could add another signature role to her impressive credits." __________ “... a magical moment of excellent vocal skill…” – Cologne Magazine Die Zauberflöte – “The Queen of the Night, ferociously sung by Rainelle Krause, was a real firecracker, earning ovations from the beginning. In her revenge aria, she chiseled the coloratura into the room, tossing the highest notes like bullets into the sky, a magical moment of excellent vocal skill." __________ "...immense physical strength...[and] power..." – Bachtrack Die Zauberflöte – "Rainelle Krause's Queen of the Night looked deliberately old and unattractive, yet she displayed immense physical strength delivering the much anticipated 'Der Hölle Rache' from a wheelchair. Her menace and immense power when calling upon the gods of vengeance, almost as if her life depended on it, was amazing." __________ "...display[s] a gloriously effective delivery of...high notes and vocal dexterity..." – Daily Express Die Zauberflöte – "The most impressive singing came from the Queen of the Night, played by American soprano Rainelle Krause, whose two main arias displayed a gloriously effective delivery of all the high notes and vocal dexterity these show-stoppers demand." __________ "... Krause's fine coloratura…” – OperaMagazine.nl The Snow Queen – “Rainelle Krause's fine coloratura soprano reached the balcony as Princess with the top notes unscathed.” __________ "... expert singing and emotions..." – Broadway World Die Zauberflöte – “However, the true standouts of this production are found in Rainelle Krause as Queen of the Night ... The Act II aria from the Queen of the Night is one of the most famous in history (according to this writer's opera fanatic friends). Krause sings this aria beautifully, and her voice soars. Sitting in the audience, one can feel the expert singing and emotions that Krause is portraying." __________ "... Krause steals the show..." – Sceneblog.dk U ballo in maschera – “And then there is the surprise. For it is Rainelle Krause who steals the scene as Oscar, in a trouser role… The American coloratura soprano Rainelle Krause's voice blares in the finest way through the big soundscape, and like her Queen of the Night in Barrie Kosky's MAGIC FLUTE in 2020, Krause steals the show when she arrives.” __________ "... Krause fascinates..." – Deutschlandfunk Al gran sole carico d’amore – “The female roles of the revolutionaries in "Al gran sole" demand from the sopranos the highest virtuosity in the highest possible tessitura over wide-ranging phrases. Rainelle Krause fascinates as a frightened, dying Tania Bunke.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

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

View artist profile - BASS INSTAGRAM JULIAN CLOSE BASS BIOGRAPHY Noted as having “a rich voice that appears to come from the centre of the earth,” as well as, simply, “a voice to die for,” Julian Close stands as one of the most critically acclaimed basses in the UK, having performed at several esteemed opera houses and venues throughout his career including The Metropolitan Opera, The Royal Opera House at Covent Garden, English National Opera, Welsh National Opera, The Royal Albert Hall, Barbican Centre, The Bridgewater Hall, Opera North UK, Scottish Opera and the Wexford, Buxton, Longborough, and English Bach Festivals in a wide range of roles. He has also made numerous television and radio broadcasts for the BBC. Last season, Julian returned to The Metropolitan Opera to cover Sparafucile in Rigoletto , and he returned to Irish National Opera and débuted at Dorset Opera Festival to sing the same role. In addition, he recently made his company début at Irish National Opera to sing the First Soldier in Salome , returned to The Royal Opera House at Covent Garden for their production of Das Rheingold , and returned to Longborough Festival Opera for Wagner’s Ring Cycle and Debussy’s Pelléas et Mélisande . This season, Mr. Close returns to Irish National Opera for their production of The Bartered Bride and makes his highly anticipated début at Grange Park Opera as the Grand Inquisitor in Don Carlo and Don Basilio in Il barbiere di Siviglia . In recent seasons, Julian returned to The Metropolitan Opera for Lady Macbeth of Mtsensk , Rigoletto , and Don Carlo . Additionally, he returned to both the Scottish Opera as Simone/Talpa in Il trittico and the Longborough Festival for their long-awaited Götterdämmerung , and he was seen with his wife Rebecca Afonwy-Jones in the Kent, UK’s JAM on the Marsh Festival. READ MORE Previously, Close performed in Rosenkavalier for Garsington Opera Festival and in Holst’ Savitri as Death with the Leeds Opera Festival. 2020 and 2021 engagements were to include returns to The Metropolitan Opera for Tristan und Isolde , Fidelio , and Lulu , returns to the Longborough Festival and English National Opera for their productions of Die Walküre , and Wagner’s Ring Cycle with the Lyric Opera Chicago. Mr. Close made his long-awaited house début at the Royal Opera House at Covent Garden in The Magic Flute , he joined The Metropolitan Opera for their productions of Das Rheingold and Götterdämmerung , Otello , Pelleas et Melisande , and Rigoletto , and he made his house début at Opéra de Montréal as Fasolt in Das Rheingold . He also performed the role of Don Juan in From the House of the Dead with Welsh National Opera and the role of Wotan in the third act of Die Walküre with New Palace Opera. Additionally, Mr. Close performed the role of Hunding in Die Walküre with Saffron Opera Group, Fafner in Das Rheingold with Minnesota Opera, and Ramfis in Aida with Pacific Symphony. He first joined the roster of The Metropolitan Opera in 2011 for their production of Der Ring des Nibelungen and has returned as a performer subsequently every season. Additional recent engagements include Hunding in a concert performance of Die Walküre with The Chandos Orchestra; Don Basilio in Il barbiere di Siviglia with the Longborough Festival; Verdi’s Requiem with the Eaton Christchurch Choir in Norwich; and a return to Welsh National Opera for Moses und Aron and Nabucco . He also returned to Opera Project for Madama Butterfly and joined Opera Rara for Donizetti’s Les Martyrs at Royal Festival Hall. Prior engagements include Angelotti in Tosca , Truffaldino in Ariadne auf Naxos , Osmin in Die Entführung aus dem Serail , Athlete in Lulu , and Bonze in Madama Butterfly , all with Welsh National Opera; Lodovico in Otello for the BBC Philharmonic; Bonze in Madama Butterfly and Commendatore in Don Giovanni with Opera Project UK; King Marke in Tristan und Isolde and Landgraf in Tannhaüser with the Northern Wagner Orchestra; Fafner in both Das Rheingold and Siegfried with the Longborough Wagner Festival, a role he also covered with The Metropolitan Opera. He also covered Lord Fortune in Miss Fortune for the Royal Opera, Covent Garden. Favorite engagements from past seasons include: Wotan in Das Rheingold , Hagen in Götterdämmerung , Pogner in Die Meistersinger , Titurel in Parsifal , Steffano Colonna in Rienzi, der Letzte der Tribunen , Dosifey in Mussorgsky’s Khovanschina , Vodník in Rusalka , Il Grand Inquisitor in Don Carlo , Penios in Daphne , Pistola in Falstaff , Quince in A Midsummer Night’s Dream , Sarastro in Die Zauberflöte , Zuniga in Carmen , Mayor in Jenůfa , Collatinus in The Rape of Lucretia , Timur in Turandot , Colline in La bohème , Prince Gremin in Eugene Onegin , Luther and Crespel in Les contes d’Hoffmann , Sparafucile in Rigoletto , Ramfis in Aida , Loredano in I due Foscari , Nourabad in Les pêcheurs de perles , and Black Bob and Tom in Let’s Make an Opera . Also a successful concert artist, Mr. Close’s orchestral repertoire includes Bach’s St. Matthew Passion , St. John Passion , Magnificat , and Lutheran Mass ; Beethoven’s Mass in C ; Dyson’s Canterbury Pilgrims ; Elgar’s The Dream of Gerontius and Caractacus; Judas in The Apostles ; Fauré’s Requiem ; Haydn’s Creation ; Mahler’s Symphony No. 8 ; Mozart’s Requiem , C Minor Mass , and Vesperae Solennes ; Puccini’s Messa di Gloria ; Rossini’s Stabat Mater ; Verdi’s Requiem ; as well as Weber’s Second Mass in G Minor and Stravinsky’s Les Noces with the Michael Clarke Dance Company (Barbican Centre & The Lincoln Center, New York). Current as of September 18, 2025 CRITICAL ACCLAIM "...He gave a truly believable and moving performance..." – Great British Life Götterdämmerung – "As you’d expect for an LFO production, every single performer in this production were of world-class standard, and, just as you think the bar can’t possibly be raised, there are some truly outstanding performances. Firstly, Julian Close as Hagen shone for both his deep, rich bass vocal performance and his capacity as an actor to portray such a complex, melancholic and troubled character. He gave a truly believable and moving performance, which provided a certain gravitas to the overall production that had you questioning your allegiances.” __________ "...remarkable voice..." – The Article Götterdämmerung – "The one person who knows exactly what is going on is Hagen, and Julian Close, whose remarkable voice has taken him to the Met in New York for various roles (including Sparafucile this season), was outstanding in this part. Knowing and determined in his quest to regain the Ring, his interaction with his father Alberich (Freddie Tong) gives the appearance that it occurs in an inebriated dream of Hagen. With Lee Bisset singing a fine and intelligent looking Brünnhilde, unlike the standard delivery of this powerful role, we had the ingredients for an excellent performance." __________ "...Close sang with huge, effortless voice..." – Classical Source Götterdämmerung – “Julian Close's superb Hagen is one of the two roles anchoring the psychological complexity. Close sang with huge, effortless voice, and from his first appearance, manipulating the marital prospects of Gunther and Gutrune, you never doubted that calamity had entered the Gibichung court. This Hagen embodied wickedness and was magnificent.” __________ "His powerful bass captivates the listener with its darkness, strength and security..." – Music OMH Götterdämmerung – “If Hagen feels the dominant force in the opera, it is also because Julian Close’s portrayal of him is so commanding. His powerful bass captivates the listener with its darkness, strength and security, and he skilfully presents Hagen as a figure who has been totally numbed by being born with no love, and with the sole aim of obtaining the ring.” __________ "...always invested in meaning..." – Opera Today Die Walküre – "...a menacing Julian Close whose spare movements are always invested in meaning." __________ "...godlike authority...” – Harmony Die Walküre – “Julian Close, a habitual Hagen and Fafner, was making his debut as Wotan, and it was a stunner. His huge, black marble voice ruled the platform and had an edge like a spear. Every word was effortlessly audible. Already this was an assumption with godlike authority.” __________ "...Julian Close was stupendous..." – The Irish Times Don Giovanni – “As the Commendatore, Julian Close was stupendous, the sort of bass who could sing Fafner the Dragon without the amplifying megaphone dictated by Wagner.” – __________ "...an immensely moving and dignified performance...“ – Seen and Heard International Tristan und Isolde – “King Marke’s monologue often seems to halt the progress of the drama, but as sung by the vastly experienced Julian Close it proved the emotional highpoint of all we heard. His deep voice was extraordinarily handsome, and the abiding decency of the character he created – and his obvious engagement with the King’s innate decency – elicited sympathy for Marke’s despair. The tenderness Close brought to describing Isolde as ‘Dies wundervolle Weib’ was heartbreaking and throughout he gave an immensely moving and dignified performance“ __________ "...musically rich...” – The Arts Desk Lulu – “The enormous cast has hardly a weakness. Especially memorable are Julian Close’s Acrobat, a role hard to define but musically rich.” __________ "...voice that appeared to come from the centre of the earth...” – Harry Mottram Eugene Onegin – “Julian Close as Prince Gremin and his voice that appeared to come from the centre of the earth.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General

View the roster of UIA Talent Agency - Vocal. Search by type More FOR ALL POPS INQUIRIES, PLEASE CONTACT ADRIENNE BORIS, SENIOR AGENT | CLASSICAL & CONCERT aboris[at]uiatalent.com T 212-969-1797 LAURA AUER Pops CURTIS BANNISTER Pops MONET X CHANGE Pops SAPPHIRA CRISTAL Pops JASON FORBACH Pops EMMA GRIMSLEY Pops NATHAN HALTIWANGER Pops KATHERINE HENLY Pops DAN HOY Pops MICHAEL KELLY Pops ANALISA LEAMING Pops PARRIS LEWIS Pops STEPHEN MARK LUKAS Pops TREVOR MARTIN Pops DEQUINA MOORE Pops TONY MOWATT Pops CURT OLDS Pops JOHN RIESEN Pops POPS

View artist profile - DIRECTOR ARTIST WEBSITE ROBERT NEU DIRECTOR BIOGRAPHY Known for his “distinctive staging style” and for being “the most inventive opera director in town” (St Paul Pioneer Press), Robert Neu is challenging the norms by becoming a pioneer in the field of semi-staged operas with symphony orchestras. Sought after for his highly theatrical and musically sensitive work, Neu has directed more than ninety productions of opera, musical theater, and plays throughout the country. Last season, Robert returned to Opera Idaho to direct Il barbiere di Siviglia and Shreveport Opera for La Traviata . This season, he returns to Opera Idaho to direct their production of Le nozze di Figaro . Recent engagements include St. John’s Passion with Shreveport Symphony, Colorado Symphony and Lyric Opera of the North; The Merry Widow for Opera Idaho; both Amahl and the Night Visitors and Eugene Onegin for Skylark Opera; La Traviata and Otello for Pacific Symphony; Le nozze di Figaro with Inland Northwest Opera and Orlando Opera; La bohéme and The Barber of Seville with Opera Orlando; As One and Cosí fan tutte with Skylark Opera Theatre; West Side Story with Central City Opera in collaboration with the Boulder Philharmonic; Don Giovanni for Steamboat Springs Opera; and L’enfant et les sortileges and The Magic Flute with Pacific Symphony. READ MORE His fully staged productions include Così fan tutte with Cincinnati Chamber Orchestra, La bohème with West Virginia Opera and Gulf Coast Symphony, Trouble in Tahiti for the Minneapolis Fringe Festival, and Le nozze di Figaro for Bellevue Opera. Over the past decade, Neu established an on-going relationship with Skylark Opera for which he has directed a wide variety of operettas, operas and musicals including Naughty Marietta, Don Pasquale, The Merry Widow, On the Town, Wonderful Town, The Fantasticks, Candide, and Putting It Together . An audience favorite with Lyric Opera of the North, he has directed its productions of Don Pasquale, The Face on the Barroom Floor, Carmen and Il barbiere di Siviglia . In the theatre genre, he helmed productions of Oliver, The Sound of Music, Fiddler on the Roof, Patience, Becky’s New Car, Death of a Salesman, Art, Godspell, Blithe Spirit and The Laramie Project for theatre companies throughout the United States. With his vast experience of bringing semi-staged operatic repertoire to symphony orchestra stages, Robert Neu has worked closely with the Minnesota Opera presenting critically acclaimed productions of Candide, Fidelio, Hänsel und Gretel, Tosca, Carmen, Peer Gynt, La bohème, La Traviata, Bernstein’s Mass, Die Zauberflöte, Die Fledermaus, and Carousel . With the Colorado Symphony, he has directed Tosca and The Music Man. Cincinnati Symphony and Cincinnati Pops audiences have seen his productions of The Music Man, Die Zauberflöte, Peer Gynt, and The Sound of Music. As an innovator who seeks to combine symphonic music with theater in unique ways, Neu has adapted a version of Shakespeare’s Romeo and Juliet for four actors and orchestra which has been produced by orchestras across the country including Minnesota Orchestra, Des Moines Symphony, Eugene Symphony, and Wintergreen Music Festival. He has also co-written and produced a series of programs that seek to introduce orchestra audiences to the joys of opera. His production company, Angels & Demons Entertainment, focuses on working with orchestras in producing theatrical and operatic offerings. In the past ten years, nine of Neu’s productions have received “Best of the Season” citations from various media including Minneapolis Star Tribune, Cincinnati Post, St. Paul Pioneer Press and Minnesota Public Radio. His production of The Laramie Project received awards for Best Ensemble and Outstanding Theater Event of the 2014 season from Broadway World. Neu teaches masterclasses in audition techniques for the University of Minnesota’s opera department, and he is a Resident Director at Lyric Arts Theater in Minneapolis. He is a graduate of The Juilliard School. FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

View artist profile - DIRECTOR ARTIST WEBSITE LUZAZUL BARE OPERA MALENA DAYEN DIRECTOR BIOGRAPHY Malena Dayen is an Argentinian opera stage director and Princeton Hodder fellow. Last season, Ms. Dayen directed Dialogues des Carmélites at Montclair University as well as the first U.S. production of Menotti's La Médium in Spanish for Fort Worth Opera. She also joined the Metropolitan Opera as an assistant stage director for Deborah Colker's production of Ainadamar . This season, in addition to her continued work at Montclair University, Ms. Dayen will reprise the critically-acclaimed El Oratorio Panhispánico , composed by Alejandro Zuleta for the MACC Ensemble. Entirely in Spanish, this groundbreaking oratorio weaves contemporary classical sound with the rich rhythms of Latin America in an unforgettable multimedia production. She will also lead the World Premiere production of Derrick Wang’s Fearless for Opera Delaware, a new opera based on the story of Hazel Ying Lee, a trailblazing World War II aviator and member of the Women Airforce Service Pilots. Future seasons include a return to The Metropolitan Opera for their productions of Andrea Chénier as well as a new production of Gabriela Lena Frank and Pulitzer Prize–winning playwright Nilo Cruz’ El Último Sueño de Frida y Diego , a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera. READ MORE Previous engagements include a concert version of Aida at Fort Worth Opera, which featured interactive projections, along with Roméo et Juliette , Carmen and Frida at Opera Naples. In addition to her directing work, Ms. Dayen recently co-created luzAzul, an opera for very young audiences that premiered in New York City before touring to the Ziguzajg Festival in Malta and the Atta Festival in Türkiye. Malena also co-created and directed Bare Opera’s FireSongs by Thomas Cabaniss, presented in collaboration with National Sawdust at the Chelsea Factory in New York City. In 2020, Malena won 1st Prize in Catapult Opera’s competition for innovation in opera. She also directed Teatro Grattacielo’s video productions of Fedora and Mefistofele , works selected to the Munich Music Video Awards, the 4th Dimension Independent Film Festival, and the London International Music Video Awards. Additionally, she directed Cuando el fuego abrasa , a co-production of Opera Hispánica and Teatro Grattacielo featuring songs by Piazolla, De Falla's El Amor Brujo at LaMama in New York City, as well as Teatro Grattacielo's production of Mascagni's L'Amico Fritz at LaMama and the Festival of the Voice in Phoenicia, NY. As creative director of Bare Opera , Ms. Dayen directed The Late Walk , a new opera in collaboration with Decameron Opera Coalition, which was inducted into The Library of Congress’ Performing Arts COVID-19 Response Collection. With Bare Opera, she has also directed Heroes of New York , another collaboration with DOC, as well as directed and starred in productions of Piazzolla’s Maria de Buenos Aires and Don Giovanni . She also co-created Bare Opera’s Exercises on The Presence of Odradek , a new experimental operatic work performed live online. As an operatic mezzo soprano, Ms. Dayen received high praise from the New York Times, which called her performance in the world premiere of P. Moravec’s The Blizzard Voices at Carnegie Hall “Outstanding.” She made her début as Cherubino in Le nozze di Figaro at the Teatro Municipal of Rio de Janeiro and has also performed in Carmen , Manon Lescaut , Elektra and Thaïs at the Teatro Municipal de São Paulo. Born and raised in Buenos Aires, Malena is a Spanish music and tango specialist, performing this repertoire with orchestras worldwide. Malena holds an MFA from CUNY Brooklyn College in the Performance and Interactive Media Arts program, as well as a MM and a PSD from the Mannes College of Music, The New School. Current as of April 1, 2025 CRITICAL ACCLAIM "...Dayen's subtle choices." – OperaWire Cuando el Fuego Abrasa – "On first glance, the double bill, featuring a series of tangos by Piazzolla’s and De Falla’s “El Amor Brujo” seemed like an unlikely pairing. But in this version, the combinations complement one another...because of Dayen's subtle choices." __________ "...truly engag[ing] with...rich world[s]..." – OperaWire Maria de Buenos Aires – "[T]his was an immersive experience that allowed you to truly become engaged with the rich world created by Piazzolla and Ferrer in their 'tango operita.'" __________ "['FireSongs' is] a work of tremendous beauty, and an experience crafted by Dayen." – OperaWire FireSongs – “FireSongs” is...an image of the human experience. Some of it is abstract, like the images of landscapes projected on the rear wall, but much of it is plain as day. It’s a work of tremendous beauty, and an experience crafted by Dayen. These elements worked hand in hand to deliver an insightful view of the human condition in all its beauty and brutality." __________ "Dayen’s version of [ Fedora ] is highly rich in emotions." – OperaWire Fedora – "Minimalist and modern in the set design, Dayen’s version of the work is highly rich in emotions. The light, the very technical harmonization of the voices and piano, the acting — it all hits to the heart..." __________ "Dayen's....uncommon clarity..." – Voix des Arts Fedora – "Capitalizing on the intimacy of the production’s filmed format, Malena Dayen’s direction lent the opera’s action uncommon clarity: regardless of the number of singers on screen and the sameness of their dress, the individual identities of the characters singing and the significance of their utterances were consistently apparent." FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony

View artist profile - SOPRANO ARTIST WEBSITE INSTAGRAM YOUTUBE FLORA HAWK SOPRANO BIOGRAPHY Soprano Flora Hawk has been hailed as “vocal standout” by Opera News and lauded for her “richly balanced” voice by OperaWire. A champion of new works, Flora had the honor of portraying Mildred Jeter Loving in the highly anticipated world premiere of Damien Geter’s Loving v. Virginia with Virginia Opera, in a performance that was described by OperaWire as “captivating,” and will make her Minnesota Opera début as Beatrice in the world premiere of My Name Is Florence , Brittney B.E. Boykin’s new opera celebrating the life of composer Florence Price with libretto by Harrison David Rivers. Ms. Hawk was also seen as Peter in the world premiere of The Snowy Day at Houston Grand Opera and Amelia in the world premiere of Quamino’s Map with Chicago Opera Theater. The recent 2023-2024 saw her as the soprano soloist in Mozart’s Requiem with the Rapides Symphony, her role and company début as Johanna in Sweeney Todd with Dayton Opera,her Portland Opera début as Peter in The Snowy Day , and a return to Knoxville Opera in the title role of Viardot’s Cendrillon . Additional recent engagements include Musetta in La bohème with Nashville Opera and Pensacola Opera, Susanna in Le nozze di Figaro with Knoxville Opera, Dayo in Cook Shack with Opera Theatre of St. Louis, a company début as Ninette in The Love for Three Oranges with Des Moines Metro Opera, Poppea in Agrippina with Florida Grand Opera, her return to Kentucky Opera as Euridice in Orfeo ,and performances of excerpts of The Snowy Day in concert with New Haven Symphony Orchestra. READ MORE Flora completed her residency with Kentucky Opera's Barbara and Halsey Sandford Studio Artist Program where she was originally scheduled to perform Musetta in La bohème , Sandman in Hansel and Gretel , and Euridice in Gluck’s Orfeo ed Euridice , but due to Covid-19 she instead appeared in multiple innovative productions with the company. Additionally, she performed Josephine in H.M.S Pinafore with Pensacola Opera, Sally in the premiere of Stone Soup with Fort Worth Opera, and leading role of Sara in the premiere of We Wear the Sea Like a Coat with Opera Ithaca. She was a returning artist with Shreveport Opera for the where she sang Susanna in Le nozze di Figaro and Antonia in Man of La Mancha . She was engaged as a returning artist with Opera Saratoga for their 2020 summer season where she would have performed Winnie in Sky on Swings and Mabel in The Pirates of Penzance , but due to Covid-19, these productions were to be scheduled for a later date. Flora enthusiastically accepted her first engagements with Shreveport Opera where she performed Maria in West Side Story and Kate Pinkerton in Madama Butterfly . Additionally, she was invited to perform at the Fort Worth Opera Gala and sang Mother in Humperdinck's Hänsel und Gretel with Opera Saratoga. Flora received her Master of Music in Vocal Performance from the University of Houston where she performed Sarah Good in The Crucible , Carolina in Il matrimonio segreto , Princess Ninetta in The Love for Three Oranges , and Elvira in L’italiana in Algeri in addition to premiering the leading role of Lady Teazle in Nelson and Ross’s The School for Scandal . She also performed Corilla in Viva La Mama with Houston’s Lone Star Lyric Opera. She received her Bachelor of Music in Music Education from Stephen F. Austin State University. Flora was a District Winner of the Metropolitan Opera National Council Competition, received top prize in the Mary Jacobs Smith Singer of the Year Competition, the Amore! Opera Lovers of East Texas Award for Outstanding Opera Performance, and was a finalist in the National Competition for Classical Singers. Learn more at florahawksoprano.com . Current as of July 13, 2025 CRITICAL ACCLAIM "... scintillating high notes…” – Washington Classical Review Loving v. Virginia – "Flora Hawk led the cast as Mildred Loving, combining a self-effacing stage presence, suiting the attention-shy character, with a lyric soprano featuring exceptional tonal clarity, control of soft registers, and some scintillating high notes. Mildred’s aria in the Act I jail scene, “Daddy was right,” proved quite moving, as did her Act II lullaby, “The House Called Love,” sung to her daughter Peggy." __________ "Ms. Hawk sang like royalty…” – Opera Today The Love for Three Oranges - "Ms. Hawk sang like royalty, her assured technique wedded to a freely produced, luxuriant soprano instrument. Moreover, she proved a deft comedienne with great timing." __________ "... charismatic confidence…” – Music City Review La bohème – ". . . the fetching opportunist Musetta (Flora Hawk, Soprano). Hawk’s second act waltz, “Quando me’n vo’ ” bristled with more than enough charismatic confidence and passion of youth to win Marcello’s heart…again and make her stand out from a huge stage chock full of people." __________ "... a bright soprano sound…” – South Florida Classical Review Agrippina – “Feigning grief and friendship, Lyons effectively played off the Poppea of Flora Hawk. A charming soubrette, Hawk possesses a bright soprano sound. . . She deftly traced Poppea’s vengeance aria when she thinks her beloved Ottone has been unfaithful and spun roulades with grace at their reconciliation. Hawk also evidenced fine comedic skills at Poppea’s mock flirtatious dalliances with three would-be suitors.” __________ "... delightful..." – Opera News Quamino’s Map – “Flora Hawk brought a brightly textured, pealing soprano to Amelia, and proved herself a delightful actress." __________ "... Hawk’s Euridice was sumptuous and buttery..." – Arts-Louisville.com Orfeo ed Euridice – “Flora Hawk’s Euridice was sumptuous and buttery. . . her interactions with Catherine Martin’s Orfeo were of storybook quality.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

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

Explore the roster of UIA Talent Agency - Actors. ACTORS CURTIS BANNISTER Actor GILLIAN BELL Actor EVAN BERTRAM Actor PAMELA BOB Actor KAREN CHRISTIE-WARD Actor NINAKO DONVILLE Actor EMMA GRIMSLEY Actor JONATHAN HADLEY Actor NATHAN HALTIWANGER Actor BERNARD HOLCOMB Actor DAN HOY Actor JACKSON HURT Actor KARL MICHAEL IGLESIAS Actor MICHAEL KUHN Actor ANALISA LEAMING Actor PARRIS LEWIS Actor LUCIA LUCAS Actor TREVOR MARTIN Actor CAITLIN MESIANO Actor DEQUINA MOORE Actor TONY MOWATT Actor CHUK OBASI Actor CURT OLDS Actor LORENZO PUGLIESE Actor NICK RAYNOR Actor

View artist profile - TENOR ARTIST WEBSITE FACEBOOK INSTAGRAM DAVID WALTON TENOR BIOGRAPHY Praised for his “plangent timbre,” David Walton dazzles stages across the country to critical acclaim as a versatile lyric tenor to watch. A favorite tenor of bel canto , Mr. Walton has established himself in roles such as Ferrando in Mozart‘s Così fan tutte , Tonio in Donizetti‘s La fille du régiment , and Almaviva in Rossini‘s Il barbiere di Siviglia . As Ernesto in Don Pasquale with Minnesota Opera, his voice was described as “the sweetest singing of the evening...a lyric tenor with strong Italianate stylings,” ( Star Tribune ). In the 2025-2026 season, Mr. Walton returns to Toledo Opera in his role début as Nemorino in L’elisir d’amore . He is also pleased to return to Virginia Opera as Ramiro in La Cenerentola , where his début in the same role was hailed as “smooth, lyrical, and capable of scaling the heights” ( Virginia Pilot ). Additionally, he returns to Opera San Antonio, reprising his role as Tamino in Barry Kosky’s production of Die Zauberflöte , and will bring his celebrated Almaviva in Il barbiere di Siviglia for a hometown company début with Nashville Opera. On the concert stage, he will début with Virginia Symphony Orchestra in their Messiah . In the 2024-2025 season, Mr. Walton brought his Almaviva to Minnesota Opera and Madison Opera and débuted with the South Florida Symphony in their staged Candide . Additionally, he made his role début as Don Ottavio in Don Giovanni with Livermore Valley Opera, where San Francisco Classical Voice praised him for his, “sweet tenor [that] also had the sturdiness needed for Ottavio’s more forthright moments.” READ MORE Other operatic credits include Frederic in The Pirates of Penzance , Filippo in Haydn’s L’ infidelta delusa , Acis in Handel‘s Acis and Galatea , and Belmonte in Die Entführung aus dem Serail with such companies as Cincinnati Opera, Opera San Antonio, Kentucky Opera, Virginia Opera, Opera Delaware, The Glimmerglass Festival, and Opera Theatre of Saint Louis. David has sung multiple new works and world premieres throughout the country including Tom in the world premiere of Companionship by Rachel Peters with Fort Worth Opera, Younger Thompson in Glory Denied with Union Avenue Opera, and Delbert Grady in the world premiere of Paul Moravec and Mark Campbell’s The Shining with Minnesota Opera, as well as the remounted production with Opera Parallèle directed by Brian Staufenbiel, and Miles in Missy Mazzoli’s Proving Up with Journey North Opera. An accomplished concert soloist, David recently made his Carnegie Hall debut as tenor soloist in Mozart’s Vesperae solennes de Confessore , and has appeared as the tenor soloist in Handel’s Messiah with Pacific Symphony, Columbus Symphony Orchestra, the Indianapolis Chamber Orchestra, South Dakota Symphony Orchestra and Atlanta Symphony Orchestra, and others, in addition to Rossini’s Stabat Mater , Mozart’s Requiem and Mass in C minor , Mendelssohn’s Lobgesang , Orff’s Carmina Burana , and Beethoven’s Mass in C. He has distinguished himself in the many works of J.S. Bach including Magnificat , St. John Passion, St. Matthew Passion , and numerous Cantatas, of which his solo in BWV 80 with the Atlanta Symphony Orchestra under the baton of Robert Spano was hailed as a “vocal standout” and “right down the traditional line of a fine Bach tenor” by ARTS ATL. David is a 2017 Sullivan Grant Winner with the William Matheus Sullivan Foundation. He won 2nd Place and Italian Diction award in both the Marcello Giordani Foundation International Vocal Competition and Opera Birmingham Vocal Competition. Other competitions include a finalist in the 2021 concours de chant with Opéra Clermont Auvergne in France, District Winner in Minnesota for the Metropolitan Opera National Council Auditions and third place in the 2021 International Vocal Competition with the Rochester Oratorio Society. Current as of October 9, 2025 CRITICAL ACCLAIM "....Walton’s “bel canto” (“beautiful singing”) never waivers.” - Capital Times "...David Walton, whose sweet tenor also had the sturdiness needed for Ottavio’s more forthright moments. ” - SF Classical Review ---------- "...chilling in his casual charm and suavity..." – Opera News The Shining – “…tenor David Walton as Delbert Grady, the previous caretaker who murdered his wife and two daughters, was equally chilling in his casual charm and suavity” __________ "... [he] could make anything into a sweet serenade." – Times Union Il barbiere di Siviglia – “The Count was played by tenor David Walton whose voice could make anything into a sweet serenade.” __________ "... requisite clean, clear voice of the hero..." – Duluth News Tribune Die Zauberflöte – “As the tuxedoed Tamino, tenor David Walton’s ‘Dies Bildnis ist bezaubernd schön’ offered the requisite clean, clear voice of the hero as he affably endured his character’s trials and tribulations.” __________ "...he captures all the frustration and shyness [...] the perfect voice for this role..." – Daily Camera Albert Herring – “Tenor David Walton sings Albert, and he captures all the frustration and shyness of this repressed innocent. … Walton has the perfect voice for this role, and he’s most impressive in Act 2, scene 2, which is almost completely his soliloquy.” __________ "...sweetest singing of the evening..." – Star Tribune Don Pasquale – “The sweetest singing of the evening came from tenor David Walton, as Pasquale’s nephew Ernesto. A true lyric tenor with strong Italianate stylings, he poured a taste of honey on the top notes in Act One’s “Sogno soave e casto,” as well as on Act Three’s love song to Norina.” __________ "...a fine singer whose vocal quality was smooth, lyrical and capable of scaling the heights." – The Virginia Pilot La Cenerentola – “Tenor David Walton was a handsome prince and a fine singer whose vocal quality was smooth, lyrical and capable of scaling the heights.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General