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Explore the roster at UIA Talent Agency - Creatives. CREATIVES Search by category More DARWIN AQUINO Conductor ANDREW BISANTZ Conductor DONALD LEE III Conductor TIMOTHY LONG Conductor MALCOLM J. MERRIWEATHER Conductor MICHELLE ROFRANO Conductor ADAM TURNER Conductor JOSHUA BORTHS Director JEFFREY BUCHMAN Director MALENA DAYEN Director STEPHANIE HAVEY Director KIMILLE HOWARD Director KARL MICHAEL IGLESIAS Director FENLON LAMB Director JAMIBETH MARGOLIS Director/Casting Director DAN WALLACE MILLER Director ROBERT NEU Director CHUK OBASI Director CURT OLDS Director BRIAN STAUFENBIEL Director MO ZHOU Director HÉCTOR ARMIENTA Composer JASMINE BARNES Composer BRITTNEY B.E. BOYKIN Composer CHRISTIAN DE GRÉ CÁRDENAS Composer DAN GIBSON Composer RICKY IAN GORDON Composer CONOR HANNEY Composer JAKE LANDAU Composer JOHANNY NAVARRO Composer KAMALA SANKARAM Composer ALEX HIGGIN-HOUSER Librettist MICHAEL KELLY Librettist JARROD LEE Librettist DEBORAH D.E.E.P. MOUTON Librettist JOSEPH REESE ANDERSON Librettist CORI ELLISON Dramaturg WARREN JONES Master Teacher KATHLEEN KELLY Master Teacher AUDREY BABCOCK Producer CONOR HANNEY Writer

View artists profile - DIRECTOR ARTIST WEBSITE DAN WALLACE MILLER DIRECTOR BIOGRAPHY Hailed as a “visionary director” by The Stranger , Dan Wallace Miller’s stage direction is “riveting… well executed, and relevant.” ( CityArts ) As Founder and Artistic Director of Vespertine Opera Theater, Mr. Miller dedicates his career to presenting operas in unique spaces that are dramatically engaging and cleverly innovative. His unique concepts and perceptive direction have proven that he is a force to be reckoned with. In 2022, Miller became the Artistic Director for Inland Northwest Opera, having previously directed a filmed version of a new production of Gluck’s Orfeo ed Euridice which was met with rave reviews, and was currently available to stream. Last season, he created a new production of Susannah for the University of Oklahoma, returned to Central City Opera to direct Gounod’s Roméo et Juliette , served as assistant director for San Francisco Opera’s La Traviata , as well as directed the same opera for Inland Northwest Opera, and headed the direction for Seattle Opera’s 2023 gala. This season, he returns to San Francisco Opera as the assistant director for Lohengrin , joins Opera San Jose to direct Rigoletto , and directs The Merry Widow for Portland State University. READ MORE Recent projects include Tosca for Opera Naples, Two Remain for Central City Opera, and a new production of Susannah with Wolf Trap Opera. Miller began 2021 by directing a filmed version of Tosca as well as an abridged live version of Die Walküre for Seattle Opera, returned to Central City Opera for Dido and Aeneas, and returned to Kentucky Opera for Carmen. He made his mainstage début with Seattle Opera directing their productions of Il Trovatore and Three Singing Sisters, having previously joined them for Turn of the Screw, The (r)evolution of Steve Jobs, Carmen, Madama Butterfly, Così fan tutte, Béatrice et Bénédict, Aïda, and Porgy and Bess. He made his Washington National Opera début for Kevin Puts’ Silent Night and Central City Opera for their production of Billy Budd. Additional engagements have included work with Atlanta Opera for Silent Night, Pacific MusicWorks for Die Zauberflöte and Semele, Opera Colorado for Rigoletto, and staged excerpts from Der Ring des Nibelungen for the Miami Music Festival Wagner Institute. Mr. Miller’s Vespertine Opera Theater “…is making opera unfamiliar again in all the best ways…” (The Stranger). His recent productions with the company include the U.S. Prèmiere of Benjamin Britten’s adaptation of Francis Poulenc’s Les mamelles de Tirésias at Seattle’s oldest Vaudeville theater, Columbia City Theater; The Rape of Lucretia in Seattle’s biggest landmark cathedral, St. Mark’s Cathedral; and Heart Mountain, Vespertine Opera Theater’s first commissioned work named after the detention camp Heart Mountain, composed by Sarah Mattox, and based on the real-life journal of Kara Kondo, an internee at the detention camp. This production was performed at the Inscape Arts Building where local JapaneseAmerican community leaders were imprisoned after the attack at Pearl Harbor. In addition to his work with Vespertine Opera Theater, Mr. Miller currently serves as Resident Assistant Director at Seattle Opera. During his tenure with the prestigious company since 2010, Miller has collaborated on productions of Nabucco, Le nozze di Figaro, Maria Stuarda, Der fliegende Holländer, Hänsel und Gretel, Die Zauberflöte, La Traviata, and Kátya Kabanová. Current as of August 28, 2023 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Elliot Brown Agent | Classical & Artist Promotion Vanessa Uzan Founder & President CRITICAL ACCLAIM “...Words fall short to praise this representation..." – El Nuevo Herald Die Walküre – “Words fall short to praise this representation which did not need a scenographic framework to achieve the full force of these scenes…. Drama and music certainly came together as the public applauded the staging of Dan Wallace Miller. …Unforgettable.” __________ “...Dan Wallace Miller’s direction is apparent in every scene..." – The Sunbreak – “Dan Wallace Miller’s direction is apparent in every scene. He does a great job of emphasizing the farce without going over the top, allowing the music and the libretto their fullest expression.” __________ "...offered a fresh perspective..." – Musical America The Magic Flute – “PMWs latest project… offered a fresh perspective on The Magic Flute by combining period instruments with a provocatively anti-traditional staging. Dan Wallace Miller was the director, using a new translation and adaptation.” __________ "...visionary director..." – The Stranger The Combat – “With this remarkable production of The Combat, visionary director Dan Wallace Miller and his cast transformed not only the Seattle Opera rehearsal building, but also my heart. This is a profound experience of theater.” __________ "...astute direction..." – The Stranger The Rape of Lucretia – “Under the astute direction of Dan Wallace Miller, José Rubio both vocally and physically portrays the horrible fracture of self that turns Tarquinius into a man who’ll rape…”

View artist profile - SOPRANO/ACTOR ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE KATHERINE HENLY SOPRANO/ACTOR BIOGRAPHY Praised worldwide for her captivating and affecting portrayals in genres ranging from opera to musical theater, jazz, and pop, American soprano Katherine Henly has performed with Los Angeles Opera, Washington National Opera, the Royal Opera House Muscat, Hawaii Opera Theatre, Charlottesville Opera, Virginia Opera, the New York Musical Theatre Festival, the New York International Fringe Festival, and the O’Neill National Music Theater Conference. For her eleventh-hour début with Oper Köln in Street Scene , Resmusica raved “Finally, in Sam Kaplan and Rose Maurrant, we discover two of the most promising American singers... Radiant physically and vocally, also very moving in the farewell scene… the young American singer had replaced a sick colleague without having yet sung the role on stage before … Definitely a career worth following.” In the 2025-2026 season, Ms. Henly will be featured in Handel’s Messiah in her début with the Winston Salem Symphony and in a return to South Florida Symphony. She will also reprise the role of Berta in Il barbiere di Siviglia in her début with Opera San Antonio. The 2024-2025 season featured Ms. Henly’s début at The Metropolitan Opera as one of the Niñas in their new production of Golijov/Hwang’s Ainadamar and her return to Carnegie Hall as soloist in Fauré’s Requiem and Rutter’s Gloria . She also returned to South Florida Symphony as soprano soloist in Mozart’s Requiem , returned to Minnesota Opera as Berta in Il barbiere di Siviglia , and an appeared as a featured soloist in The Twisted World of Christian De Gré Cárdenas at 54 Below. Read More In the 2023-2024 season, Ms. Henly brought her extraordinary dramatic prowess to the fore in creating the lead role of the Woman in Daniel Schlosberg’s world premiere adaptation of Amanda Quaid’s The Extinctionist with New York’s innovative Heartbeat Opera. Eric Myers for OPERA by Opera News raved, “The Woman is the central character and is on stage non-stop. Katherine Henly gave a tour-de-force performance in the role, stretching her essentially lyric soprano to thrillingly dramatic extremes, and making very pointed use of her impressive upper register.” She also joined Operafest Røykenvik for an arias concert, South Florida Symphony for Handel’s Messiah , MidAmerica Productions for her Carnegie Hall début in Haydn’s Lord Nelson Mass , and Minnesota Opera to cover Adina in L’elisir d’amore . In the preceding season, she sang Clorinda in Opera Maine’s production of La Cenerentola to great acclaim and was seen in concert with Grand Junction Symphony Orchestra and the Creede Musical Arts Collective. Recent seasons saw her début the role of Musetta in Peter Rothstein’s critically acclaimed production of La bohème with Theater Latté Da in Minneapolis, her return to Charlottesville Opera as Valencienne in The Merry Widow , her début as Clorinda in Rossini's La Cenerentola conducted by Gavriel Heine for the Northern Lights Music Festival, and her performance as a soloist in Preludes: Lyrics & Lyricists , a five-part online series filmed on the historic stage of the 92nd Street Y. Additional recent performances include the world premiere of Maria Thompson Corley’s The Sky Where You Are commissioned by An Opera Theatre and streaming online as a part of Decameron Opera Coalition’s Tales From A Safe Distance ; and a soloist for Glad Jul , a holiday concert produced by Motarbeider, the Støttet av Kulturrådet Norsk kulturfond, and the Nord-Odal kommune, filmed in the historic Sand kirke in Nord-Odal, Norway. She made her off-Broadway début as Elsa in Sheldon Harnick’s musical Dragons at The York Theatre Company and can be heard on the studio recording with Tony Award-winner Michael Cerveris. Ms. Henly has completed Young Artist residencies with Utah Festival Opera, Charlottesville Opera, and the Glimmerglass Festival. She is a graduate of Ithaca College (B.M.) and Brigham Young University (M.M.). Current as of July 23, 2025 CRITICAL ACCLAIM "...her voice and finesse captivating the entire theater..." – The Ithacan – "Shining brightest is Katherine Henly, who plays La Musica. Covered in gold dust, each and every word she delivers is accompanied by a smile, with her voice and finesse captivating the entire theater. Moreover, her gorgeous costume…is a goddess’s garment. Its long and gentle flow perfectly matches the angelic beauty of Henly herself." __________ "...sparkled in her coloratura moments" – Worcester Telegram and Gazette – "Henly sparkled in her coloratura moments in the late songs of the piece, making her appearance as an Ethel Merman-like exponent of Broadway show numbers in the next part of the program all the more startling." __________ "it was Katherine Henly whose voice stayed with the audience." – UVU Review Carmina Burana – "Though each was amazing in his or her own right, it was Katherine Henly whose voice stayed with the audience. She sang with such beauty and emotion that though her words were foreign, there was no doubt as to their meaning.” __________ "Radiant physically and vocally" – ResMusica Street Scene – "Radiant physically and vocally, very moving also in the farewell scene, Katherine Henly, is not to be outdone in that of her beloved - a performance all the more impressive under the circumstances. The very young American soprano, passing through Cologne, had indeed replaced in the last minute a suffering colleague during several rehearsals - without having yet sung the role on stage before. The Cologne Opera thanked her with a performance that marked both her European debut and her acting debut. A career definitely to follow.” __________ "...had the audience in the palm of her hand" – One Fan Show La bohème – “Katherine Henly as Musetta had the audience in the palm of her hand as much as her on-again, off-again lover Marcello, and together their warm, heady voices washed over us.” "Katherine Henly gave a tour-de-force performance in the role, stretching her essentially lyric soprano to thrillingly dramatic extremes" - Opera with Opera News The Extinctionist - “The Woman is the central character and is on stage non-stop. Katherine Henly gave a tour-de-force performance in the role, stretching her essentially lyric soprano to thrillingly dramatic extremes, and making very pointed use of her impressive upper register. The traditional opera repertory offers lyric sopranos few roles of such unbridled intensity, and Henly made the most of this one.” __________ "The role is as demanding as any in the repertoire with a wide-ranging tessitura and constant emotional and vocal hairpin turns." - Seen and Heard Internation The Extinctionist - “Soprano Katherine Henly gave a towering performance as the Woman. The role is as demanding as any in the repertoire with a wide-ranging tessitura and constant emotional and vocal hairpin turns. One minute, Henly sang bursts of coloratura that were the vocal equivalent of a panic attack and, in the next, she blazed when expressing her fears and, later, her defiance. It was, however, the sound of Henly’s voice when she was singing as softly as imaginable that pierced the soul. The integrity and emotional honesty that she brought to this difficult role were impressive.” __________ "like a latter-day Wozzeck." - New York Times The Extinctionist - “Here, one woman (Katherine Henly, tireless in a role with equal demands on her voice and acting skills) is whisked from scene to scene, like a latter-day Wozzeck.” __________ "Ms. Henly threw herself fully into Woman’s vocal and emotional turmoil." - The Wallstreet Journal The Extinctionist - “Ms. Henly threw herself fully into Woman’s vocal and emotional turmoil. With Woman left alone at the end and her decision made for her, her haunting contemplation of a future in which “the sidewalks will be rivers again” captured the opera’s sorrowful ambivalence in the face of an impossible choice.” __________ "Henly threw herself around the stage yet sang with clarity and beauty as Clorinda." - Opera News La Cenerentola -“The chief sources of hilarity were the wicked trio of Angelina’s relatives - Patrick Carfizzi as the overconfident stepfather, Don Magnifico, and soprano Katherine Henly and mezzo-soprano Rachel Barg, who perfectly portrayed Angelina’s mocking, self-obsessed stepsisters...Henly threw herself around the stage yet sang with clarity and beauty as Clorinda.” Opera News FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General/Opera Aaron Sanko Theatre

View artists profile - CONDUCTOR ADAM TURNER CONDUCTOR BIOGRAPHY Currently in his eighth season as Artistic Director & Chief Conductor of Virginia Opera (following four seasons as Principal Conductor and Artistic Advisor), Maestro Adam Turner garners critical acclaim for the breadth of his repertoire, artistic vision, and polished technique. Of his performance of Street Scene with Virginia Opera, Opera News hailed the “sensitive conducting” of Adam Turner “who demonstrated an affinity for a score as stylistically diverse as the characters in the plot” and of his conducting of Der Freischütz , Opera News hailed: “Conductor Adam Turner… ensured crackling rhythms as much as lyrical spaciousness, resulting in a performance that felt vital and spontaneous throughout.” In the 2025-2026 Season at Virginia Opera, Turner will be on the podium for productions of La Cenerentola , Aida , and the Commonwealth premiere of Jake Heggie and Gene Scheer’s Intelligence . Additionally this season, Turner returns to Toledo Opera to conduct Carmen , and he also leads the Virginia Symphony Orchestra’s program “Classical Christmas” and Williamsburg Symphony Orchestra’s “The Nutcracker” with Virginia Regional Ballet. In recent seasons at Virginia Opera, he has led productions of Carmen , Così fan tutte , Das Rheingold , Die Walküre , Siegfried , Madama Butterfly , La bohème , Three Decembers , Le nozze di Figaro , The Pirates of Penzance , Fellow Travelers , and La Traviata , in addition to conducting the world premiere of Loving v. Virginia by Damien Geter and Jessica Murphy Moo. Appearing with the Virginia Symphony Orchestra in the “POPS! Concert Series” he has led several programs including “Dancing in the Street: Music of Motown,” “An Evening with Adrienne Warren,” “To Whitney with Love,” featuring American Idol-finalist LaKisha Jones, “Never Break the Chain,” featuring the music of Fleetwood Mac, “Broadway Rocks,” and “Music of the Bee Gees.” In the summer of 2025, Turner made his mainstage debut with Opera Saratoga conducting the Bock & Harnick musical She Loves Me , and he was also recently seen at the helm for Central City Opera’s productions of Street Scene , Kiss Me, Kate and The Light in the Piazza , Toledo Opera’s Roméo et Juliette and Il trovatore , as well as debuts with the Pacific Symphony for Sweeney Todd: The Demon Barber of Fleet Street and Portland Symphony Orchestra’s concert “Classical Broadway.” READ MORE In his inaugural season as Artistic Director of Virginia Opera, Maestro Turner conducted performances of Street Scene , Don Giovanni , L’elisir d’amore , and Madama Butterfly , in addition to Jack Perla’s An American Dream . Since then, he has conducted the company’s productions of Der Freischütz , The Seven Deadly Sins , Pagliacci , La bohème, Samson et Dalila , A Midsummer Night’s Dream , Der fliegende Holländer , Il Postino , Aida , and Tosca . On top of his productions at Virginia Opera, he conducted The Seven Deadly Sins for the Buffalo Philharmonic, Eugene Onegin with Intermountain Opera Bozeman, Three Decembers with San Diego Opera (with the legendary mezzo-soprano Frederica von Stade), and Madama Butterfly for Central City Opera. He also conducted the Virginia Symphony Orchestra’s “POPS! Concert Series” consisting of shows entitled “Queens of Soul,” “Music of Neil Diamond,” “Dancing & Romancing,” “Serpentine Fire: The Music of Earth, Wind, and Fire,” “Havana Nights with the Mambo Kings,” and “The Streisand Songbook” with Ann Hampton Callaway. He also collaborated with renowned conductor John DeMain on Washington National Opera’s production of Kurt Weill’s final stage composition Lost in the Stars , having been named inaugural recipient of the Julius Rudel/Kurt Weill Conducting Fellowship by the Kurt Weill Foundation in 2015. Turner has earned a reputation for being a champion of new works, introducing Virginia Opera’s audiences to numerous Commonwealth premieres. He has also conducted the workshops of If I Were You by composer Jake Heggie and librettist Gene Scheer, The Halloween Tree by composer Theo Popov and librettist Tony Asaro, Biennale: A Comic Opera by composer Paul Richards and librettist Wendy Steiner, assisted in the world-première of Ricky Ian Gordon’s American Civil War-inspired musical theatre masterpiece Rappahannock County (subsequently released on the Naxos label), and assisted composer David Carlson in Florida Grand Opera’s world-premiere production of Anna Karenina . Additional guest conducting engagements include: Roméo et Juliette at Lyric Opera Baltimore, The Tender Land at Northwestern University; Three Decembers with Hawaii Opera Theatre; Händel’s Messiah with the Virginia Symphony Orchestra; a Domingo-Cafritz Young Artist Program Holiday Concert with Washington National Opera; Sweeney Todd at Hawaii Opera Theatre and Eugene Opera; Le nozze di Figaro , Dead Man Walking , Carmen , La bohème , Man of La Mancha and Oklahoma! with Central City Opera; Don Giovanni , Le nozze di Figaro , Carmen , Brigadoon , My Fair Lady , Camelot , and Britten’s biblically inspired Noye’s Fludde during his tenure as Resident Conductor at Ash Lawn Opera; and H.M.S. Pinafore , Carmen , Ariadne auf Naxos , The Mikado , Carousel , and Camelot for Virginia Opera. During regular appearances with Virginia Symphony Orchestra and the Richmond Symphony, Mr. Turner conducted Young People’s Concerts and additional outreach activities. Over several years, his leadership of Virginia Opera’s annual “Opera in the Park” series, featuring both of the aforementioned orchestras in their respective communities, reached nearly 10,000 attendees across the Commonwealth of Virginia with a program of opera and popular hits, ensuring the next generation of prospective opera lovers, and bridging the gap between popular and classical music genres. He has appeared in concert with singer-songwriter Bruce Hornsby, conducting the Virginia Symphony Orchestra at the 2018 Funhouse Fest, and has performed alongside singer-songwriter Ben Folds, conducting “The Orchestra Experience” during his tour stop in Virginia Beach. Additionally, Maestro Turner conducted at the David Oistrakh Festival in Estonia, featuring appearances with the St. Petersburg Festival Orchestra, Pärnu City Orchestra, and the Kaiserslautern Symphony Orchestra. Turner first gained recognition at age 25 during his tenure at Stadttheater Pforzheim in Germany while taking over conducting responsibilities of a production of Les Misérables . Musicals – Das Musicalmagazin , Germany’s premier musical theater publication lauded his work: “ Les Mis reveals even here its magical effectiveness… The main reason for this is the performance of the orchestra, led by a young American conductor, Adam Turner, who brings to the piece a suspenseful drama that one does not always hear, even on the legendary, anniversary recording at the Royal Albert Hall. During the dramatic dialogues, he pushes the action forward but one is nonetheless able to understand every single word…he builds up the aria-like solos with great crescendos yet purposefully does not turn the first Thénardier-Song into a homely operetta number…” There, he also conducted Lehár’s Paganini and Cole Porter’s High Society . Prior to his appointment as the youngest administrator in Virginia Opera’s history, Turner proved he has a vision for the future of the industry as a member of the next generation of leaders while holding several administrative and music staff appointments at houses across the country including Seattle Opera, Florida Grand Opera, Central City Opera, Portland Opera, Tulsa Opera, Syracuse Opera, and Ash Lawn Opera. In these positions, Turner worked side-by-side with world-renowned maestri including Asher Fisch, Steuart Bedford, John DeMain, Gary Thor Wedow, and Broadway veteran Rob Fisher. Turner holds a Bachelor of Music degree from Morehead State University, and a Master of Music degree from The Catholic University of America. He furthered his training with internationally acclaimed conductors and pedagogues Neeme Järvi, Paavo Järvi, Marin Alsop, Jorma Panula, Gustav Meier, Kenneth Kiesler, and Kate Tamarkin. Current as of September 1, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...Turner believes the best art is born outside of comfort zones..." – Washington Classical Review Samson et Dalila – “Luckily, Virginia Opera has a conductor/artistic adviser in Adam Turner who absolutely relishes in taking on creative challenges. Turner believes the best art is born outside of comfort zones, in uncharted territory – not only for the audience’s sake, but for the artists’ as well.” __________ "… ensured crackling rhythms as much as lyrical spaciousness..." – Opera News Der Freischütz – “Conductor Adam Turner … ensured crackling rhythms as much as lyrical spaciousness, resulting in a performance that felt vital and spontaneous throughout.” __________ "...drawing impressively nuanced playing from the Virginia Symphony every step of the way... ” – Opera News Sweeney Todd – “For its fortieth anniversary, Virginia Opera slid into Broadway repertoire to deliver a highly satisfying account of Stephen Sondheim’s ever-chilling Sweeney Todd, one of the organization’s strongest ventures of the past decade or so….The chorus sustained a hearty, well-balanced tone. Adam Turner conducted a stylish account of the score, drawing impressively nuanced playing from the Virginia Symphony every step of the way. ” __________ "...kept the orchestra sounding high-spirited, and the well-cast chorus energized..." – The Washington Post HMS Pinafore – “Conductor Adam Turner kept the orchestra sounding high-spirited, and the well-cast chorus — with the men smartly decked out as sailors and the ladies glammed up in park-strolling gowns with parasols — energized with crisp singing and choreography.” __________ "...did a marvelous job of leading the company’s orchestra..." – Washington Times Carousel – “Adam Turner also did a marvelous job of leading the company’s orchestra in an almost perfectly calibrated counterpoint to the company’s singers. The orchestra really had a chance to shine in Act II’s extended ballet sequence as well as in a modified version of this show’s memorable ‘Carousel Waltz’.”

View artist profile - CONDUCTOR ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE MICHELLE ROFRANO CONDUCTOR BIOGRAPHY Michelle Rofrano is an Italian American conductor with a keen interest in the intersection of art, storytelling, and social activism. An avid opera conductor, engagements in the 2025-26 season include debuts at the Academy of Vocal Arts conducting Bellini’s I Capuleti e i Montecchi , serving as cover conductor for Il Trittico and Porgy and Bess with Houston Grand Opera, and covering multiple concert cycles with the National Symphony Orchestra. The past several seasons have included debuts leading La Bohème with Knoxville Opera, La Cenerentola with Toledo Opera , L’Amant Anonyme with Madison Opera, Turandot with Fargo Moorhead Opera, and a return to the Curtis Institute of Music leading a double bill of Les Mamelles de Tirésias and The Seven Deadly Sins . Other recent projects include conducting La Traviata and Cendrillon (Viardot) with City Lyric Opera; Amelia al ballo with The Juilliard School, The Turn of the Screw with the Curtis Institute, The Fall of the House of Usher with Orpheus PDX, Don Quichotte at Camacho's Wedding (Telemann) with Opera Saratoga, Trouble in Tahiti with The Glimmerglass Festival and Westminster Choir College, and a new production of Tchaikovsky’s The Queen of Spades created by Francesca Zambello. READ MORE Rofrano has served as cover conductor for productions of Dream of the Red Chamber (Sheng/Hwang) with San Francisco Opera; the world premiere of Proximity (Adams/ Roumain/ Shaw) with Lyric Opera of Chicago; The Lion, the Unicorn, and Me at Washington National Opera; La bohème and Le nozze di Figaro with Florida Grand Opera; The Cunning Little Vixen , La Traviata , Blue (Tesori/Thompson), and Silent Night (Puts/Campbell) with The Glimmerglass Festival; Eugene Onegin and Salome with Spoleto Festival USA; L'elisir d'amore , The Merry Wives of Windsor, and Later the Same Evening with Juilliard Opera; Man of La Mancha with Opera Saratoga; and La bohème with Opera Birmingham. While Rofrano has a particular passion for Italian opera, she also enjoys exploring contemporary and innovative projects. In 2022 she conducted the meditative opera Song of the Ambassadors (Skye/Allado-McDowell) at Alice Tully Hall, a groundbreaking opera in development that interweaves music, science, and technology. In 2023, Rofrano was Music Director for recording project No One Is Forgotten: An Immersive Opera , the first opera designed for 3D Spatial Audio adapted from the original play by Winter Miller, co-composed by Paola Prestini and Sxip Shirey. Rofrano is also passionate about working with the upcoming generation of classical musicians and joined National Sawdust for the Juilliard Blueprint Bridge Fellowship Concert in December 2022, conducting five world premieres by Juilliard student composers. A Taki Alsop Conducting Fellowship Mentee, Rofrano enjoys performing orchestral repertoire in addition to opera and has led concerts with the Spoleto Festival USA orchestra, CJMEA youth orchestra, and The Little Orchestra Society. Her recording of Fanny Mendelssohn's Overture in C from the Spoleto Festival's Classical Showcase in 2019 has been featured multiple times on the classical music radio program Performance Today, reaching a national audience. In response to the US federal immigration ban of 2017, Rofrano organized and led #NoBan , an orchestral protest concert with an aptly named ad-hoc ensemble PROTESTRA to raise donations for refugee aid organizations. In 2020, PROTESTRA formally incorporated as a non-profit with the mission of raising awareness about various social justice issues through the lens of classical music. The past several PROTESTRA seasons have included projects and performances such as a Concert for Mental Health, Concert Against Gun Violence, Breaking the Bias: A Concert for Women’s History Month, Concert for Climate Action , and Concert for Black Lives . During the Covid-19 pandemic, the group created a virtual orchestral rendition of Florence Price's Symphony No. 4 mvt II: Andante Cantabile , the first-ever virtual performance of a Price symphony, which reached over 25,000 viewers online. In addition to her recent work as the founder and Artistic Director of PROTESTRA, Rofrano is also a co-creator of Girls Who Conduct , an initiative that mentors young women and non-binary musicians in an effort to achieve gender parity on the conducting podium. Rofrano completed graduate conducting studies at the Peabody Conservatory and counts Marin Alsop, Joseph Colaneri, Gustav Meier, and Markand Thakar among her mentors. Current as of January 1, 2026 CRITICAL ACCLAIM "... She captured the ambiguity and sinister mystery of the story..." – Oregon ArtsWatch The Fall of the House of Usher – "Conductor Rofrano, with a 12-person orchestra (including synthesizer), never overplayed the score. She captured the ambiguity and sinister mystery of the story with the quiet pulsing staccato of the music and moments of pause. Poe writes about a crack in “the house,” but in this production, the crack is Roderick’s split life, and the music makes it all the more haunting." __________ "... Rofrano on the podium leading an energetic and light-hearted reading..." – Voce di Meche Cendrillon – “Career advancement is not easy for female conductors and we were thrilled to see the young rapidly rising Maestro Michelle Rofrano on the podium leading an energetic and light-hearted reading of Pauline Viardot's telling of the Cinderella tale. The chamber orchestra was with her every step of the way. There were the requisite strings augmented by one each of flute, oboe, clarinet, bassoon, and horn. The plangent sound of the harp wove it all together. The melodic score has the flavor of French music hall, which we see as a good thing. Mo. Rofrano played the score as a light-hearted and enchanting bauble.” __________ "... she's a meticulous musician..." – Oberon’s Grove Cendrillon – “the beauteous Maestro Rofrano. . . she's a meticulous musician who knows the score inside out.” __________ "... Rofrano elicited thrilling, evocative results..." – Opera Today The Queen of Spades – “Maestra Rofrano elicited thrilling, evocative results from her exquisite chamber players and she ably supported her singers in relating the drama.” __________ "... expertly conducted..." –ArezzoOra.it Così fan tutte – “Great success for Oberlin's Cosi fan tutte in Piazza Grande ... expertly conducted by Michelle Rofrano" FULL PRESS KIT LATEST NEWS REPRESENTATIVES Adrienne Boris General

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

View artist profile - BARITONE ARTIST WEBSITE INSTAGRAM CRAIG IRVIN BARITONE BIOGRAPHY Craig Irvin brings a vibrant sound and commitment to character to a wide variety of repertoire. Opera News has praised his “rich, resonant baritone” while the Dallas Morning News has noted his “truly commanding baritone.” This season, Mr. Irvin makes exciting returns to Utah Opera as Jack Torrence in The Shining and Opera Tampa as Papageno in The Magic Flute . In addition, he makes house débuts with Virginia Opera as Travis Briggs in Intelligence and Florida Grand Opera as the French General in Silent Night . Last season, Craig made his Glimmerglass Opera début singing the Pirate King in Pirates of Penzance and Giove in La Callisto . He also brought his Pirate King to Knoxville Opera’s Pirates of Penzance , made a role and house début as Kenny Kencaid in Shawn Okpebholo and Mark Campbell’s The Cook Off with Nashville Opera, made his role début as Tonio in Pagliacci , performed Maximillian and Captain in Candide with Opera Tampa, sang Thalasso in the premiere of The Pigeon Keeper with Opera Parallèle, and made concert appearances with the Des Moines Symphony, Madison Symphony Orchestra, and Grand Rapids Symphony. READ MORE Mr. Irvin recently returned to The Atlanta Opera in his role début as Jack Torrance in The Shining , to Madison Opera as Scarpia in Tosca , and reprised his Older Thompson in Glory Denied with Annapolis Opera and his Pirate King in The Pirate of Penzance with Kentucky Opera. Recent engagements also include his role début as Jochanaan in Salome with Madison Opera, his role début as Older Thompson in Glory Denied with Knoxville Opera and Permian Basin Opera, Maximillian in Candide with The Atlanta Opera, the Wolf/Cinderella’s Prince in Into the Woods with Tulsa Opera, and an appearance with the New West Symphony in Beethoven’s 9th Symphony . In recent seasons, he reprised of one of his signature roles - The Pirate King in The Pirates of Penzance at both The Atlanta Opera and Utah Symphony and Opera. Additionally, he joined Orchestra Iowa for Handel’s Messiah and the Cincinnati May Festival for Candide . During the COVID-affected 2019 and 2020 seasons, Mr. Irvin appeared in concert with Omaha Symphony, and was slated to appear as the title role in Sweeney Todd at Utah Festival Opera and Music Theater, Marcello in La bohème at The Atlanta Opera, in Carmina burana with San Antonio Symphony. Other recent engagements include the revival of his Dan Packard in Dinner at Eight with the Wexford Festival, Lt. Horstmayer in Silent Night with Austin Opera, Valentin in Faust with Opera Omaha, Rachmaninoff’s The Bells with the Portland Symphony, singing Dominik and covering Mandryka in Arabella with Canadian Opera Company, Handel’s Messiah with the Jacksonville Symphony, Britten’s War Requiem with Music Worchester, Stubb in Moby Dick with Utah Opera, Dandini in La Cenerentola with Opera Orlando, and Frank in Die Fledermaus with Des Moines Metro Opera. While in residence with Lyric Opera of Chicago’s Ryan Opera Center, Mr. Irvin was seen as Angelotti in Tosca , Zuniga in Carme n , Theseus in A Midsummer Night’s Dream , Sam in A Masked Ball , Imperial Commissioner in Madama Butterfly , Doctor/ Professor in Lulu , and Ashby in La fanciulla del West . Additionally, he covered the roles of Bottom, the title role in The Mikado , the title role in Hercules , Escamillo in Carmen (a role he sang in the student matinee performance), Bartolo in Le nozze di Figaro , and Brander in Damnation of Faust . Other recent engagements include Lieutenant Horstmayer in the world premiere of Kevin Puts and Mark Campbell’s Silent Night with Minnesota Opera and subsequent performances with Opera Philadelphia, Fort Worth Opera, Cincinnati Opera, Lyric Opera of Kansas City, and The Atlanta Opera. Additionally he has sung Count Almaviva in Mozart’s Le nozze di Figaro and Zurga in Les pêcheurs de perles with Utah Opera, Dan Packard in Dinner at Eight , Mandryka in Arabella , and Peter in Hänsel und Gretel with Minnesota Opera , made his role debut as Macbeth with LoftOpera, sang Escamillo in Carmen with Fort Worth Opera, debuted with Sarasota Opera as Marcello in La bohème and Anchorage Opera in the title role of The Mikado , sang Pirate King in The Pirates of Penzance with Nashville Opera and Pensacola Opera, sang Dandini in Pensacola Opera’s La Cenerentola , and performed the Villains in The Tales of Hoffman and Leporello in Don Giovanni with Wolf Trap Opera . In addition, he has sung Betto in Gianni Schicchi and 1st Nazarene and Jochanaan/cover in Strauss’ Salome with Canadian Opera Company , covered Paolo in Simon Boccanegra with Los Angeles Opera, sang Orff’s Carmina burana with the Phoenix Symphony, performed Dick Deadeye in HMS Pinafore and Raimondo in Lucia di Lammermoor with Opera Saratoga, Ramphis in Aïda with Pensacola Opera, and Basilio in Il barbiere di Siviglia with Intermountain Opera and Knoxville Opera. A winner of the Heinz Rehfuss Singing Actor Award sponsored by Orlando Opera, Mr. Irvin spent a season with the company as a Resident Artist. With Orlando Opera he has sung the Pirate King in The Pirates of Penzance , Abimelech in Samson et Dalilah , Figaro in Le nozze di Figaro , Elder Ott in Susannah , and Angelotti in Tosca . While in Orlando, Mr. Irvin also sang the role of Gaston in over 700 performances of Beauty and the Beast at Walt Disney World, MGM. In the course of his graduate work at The University of Tennessee, he performed with the Knoxville Opera as Pooh Bah in The Mikado , Der Sprecher in Die Zauberflöte , and Basilio in Il barbiere di Siviglia , as well as Reverend Blitch in Susannah and the title role in Sweeney Todd with the Knoxville Opera Studio. A native of Iowa, Mr. Irvin completed his undergraduate study at the Simpson College in Indianola under the tutelage of Dr. Robert L. Larsen. Current as of July 7, 2025 CRITICAL ACCLAIM "... rings into the hall like a clarion call…” – The Cap Times Salome – “Sparks fly between Majeski and the impressive baritone Craig Irvin as Jochanaan, aka John the Baptist. Irvin’s voice bounces off the “cistern” below stage where the prophet is being kept, and rings into the hall like a clarion call. Prepare ye, indeed." __________ "... a beautiful edge of lyricism…” – Arts Knoxville Glory Denied – “Irvin’s character has been burnished vocally, displayed here by Irvin with a golden richness carefully twisted by powerful pangs of angst and disappointment. . . An aria from the older Thompson listing his irritations with the cultural changes in American life, was not just melodic, but strangely comic at a moment that was anything but light-hearted. . . Irvin sang it with a beautiful edge of lyricism.” __________ "... superbly cast..." – Opera News Elektra – “Baritone Craig Irvin. . . was superbly cast as Orest, Elektra's long-lost brother. Orest gets one scene, but what a scene—Irvin and Hogrefe were mesmerizing and entirely convincing as they slowly recognized each other and embraced this moment that both have been awaiting." __________ "... vocal and emotional power..." – Opera Omaha Faust – “Craig Irvin, whose Valentin evinced a soldier’s strength and assuredness throughout. The vocal and emotional power of Irvin’s death scene in Act IV was wall-shaking.” __________ "... his singing was robust and virile..." – Seen and Heard International Dinner at Eight – “Craig Irvin’s Dan Packard was a highly driven, unsentimental career animal and his singing was robust and virile.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General/Opera Adrienne Boris Symphony

View artists profile - BASS ARTIST WEBSITE PETER VOLPE BASS BIOGRAPHY Praised for his “stentorian” and “robust bass” by The New York Times , venerable American bass Peter Volpe continually receives critical and popular acclaim across four continents for his powerful command and the rich texture of his timbre. Possessing a vast and ever-expanding repertoire encompassing more than 90 roles in six languages over the course of his 35+ year career, his captivating style and interpretive skill embraces the depth of every historical and fictional character he embodies. Of his recent portrayal of Prince Gremin in Eugene Onegin for the Spoleto Festival USA, Opera News applauded his ability “to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.” Last season, Mr. Volpe made his début with Fort Worth Symphony Orchestra in their production of Der fliegende Holländer . This season, he will be seen in Indianapolis Opera’s production of Rigoletto as Sparafucile. Recently, Mr. Volpe performed Zaccaria in Washington Concert Opera’s production of Nabucco , sang Sparafucile in Pacific Symphony’s Rigoletto , and was seen in Pittsburgh Opera’s production of Der fliegende Holländer as Daland. In addition, Volpe performed the roles of Old Hebrew in Samson et Dalila , Il Commendatore in Don Giovanni , and King Philip in Don Carlo with Washington National Opera, Sparafucile in Rigoletto and Daland in Der fliegende Holländer with Austin Opera, Judge Turpin in Christopher Alden’s production of Sweeney Todd at the Glimmerglass Festival, a role he also performed with New Orleans Opera, and Basilio in Il barbiere di Siviglia with Florentine Opera. READ MORE In a wide-ranging repertoire spanning Mozart to Verdi and Rossini to Britten, he has graced the stages of many of the great opera houses throughout the U.S. and abroad, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, Santa Fe Opera, Oper Stuttgart, Vancouver Opera, the Glimmerglass Festival, Opera Philadelphia, New York City Opera, Florida Grand Opera, Central City Opera, Florentine Opera, Austin Opera, Arizona Opera, The Atlanta Opera, Pittsburgh Opera, Sarasota Opera, Nashville Opera, Kentucky Opera, Lyric Opera of Kansas City, Hawaii Opera Theatre, Spoleto Festival USA, Palm Beach Opera, Portland Opera, Michigan Opera Theatre, Opera Saratoga, Mobile Opera, Opera Omaha, Virginia Opera, New Orleans Opera, Wolf Trap Opera, New Jersey State Opera, and the Bard Festival as well as the opera houses of Manitoba, Montreal, Ottawa, Edmonton, Tokyo, Kyoto, Shanghai, Beijing, Prague, Colmar, Mulhouse, Imola, Riccione, Strasbourg, Karlsruhe, Bremen, Dusseldorf, and Saarbrucken. Mr. Volpe has performed with some of the most renowned conductors of his time: James Levine, Seiji Ozawa, Valery Gergiev, Sir John Pritchard, Maurizio Arena, Marco Armiliato, Marcello Viotti, Jacques Lacombe, Jonathan Darlington, Semyon Bychkov, Joseph Rescigno, Vincent La Selva, Richard Buckley, Leon Botstein, and Richard Hickox among others. Mr. Volpe made his memorable Metropolitan Opera début in the company’s new production of Prokofiev’s War and Peace and subsequently returned for 13 seasons with the company for new productions of Les Troyens , Salome , and Boris Godunov , as well as Falstaff , Gianni Schicchi , Roméo et Juliette , Aïda , I vespri siciliani , Cyrano de Bergerac , Andrea Chenier , Carmen , and most recently as Idraote in Armida , Angelotti in Tosca , and Dr. Grenvil in La Traviata . Recent highlights of Mr. Volpe’s career include three broadcasts for the Metropolitan Opera’s Live in HD series: Il trittico , Rossini’s Armida , and La Traviata ; the Verdi Requiem at the Chichester Festival in Chichester, England; and Marcel in Les Huguenots with Leon Botstein at Bard SummerScape of which Opera News lauded, “Peter Volpe gave a terrific performance as the querulous old soldier Marcel, incisive and endearing; the decibels he produced were impressive” and The New York Times declared, “the bass Peter Volpe brought a robust voice and charismatic presence to Marcel, the count’s stalwart protector.” In 2007, Mr. Volpe created the role of Antoine Deguiche in the world premiere of David DiChiera and Bernard Uzan’s Cyrano for Michigan Opera Theatre. Recordings of the Bard SummerScape Les Huguenots and Michigan Opera Theatre’s Cyrano , as well as a DVD of the MET’s Armida , were subsequently released and well received. Mr. Volpe made his first foray into the Wagnerian repertoire as Hunding in Die Walküre with the American Symphony Orchestra at Bard College under Leon Botstein. He subsequently performed an all-Wagner concert with North Carolina Opera and Daland in Der fliegende Holländer at the Glimmerglass Festival in a new production by Francesca Zambello which Opera News extolled, “Peter Volpe, in firm, resonant voice, played Daland not as an old buffoon but as a virile commander in early middle-age.” In addition, he has performed Daland to great acclaim with Virginia Opera, Florentine Opera, and Washington National Opera. Notable performances for Mr. Volpe include the title role in Don Giovanni with New York City Opera and Florentine Opera, which Opera News praised, “Peter Volpe's handsome figure and aristocratic bearing made for good casting as Giovanni. His virile bass caressed “Deh vieni alla finestra” sensuously…”; King Philip II in Don Carlo with Vancouver Opera and Austin Opera, of which The Austin Chronicle said, “The standout performer of the evening was Peter Volpe as King Phillip. His stage presence and deep bass were captivating”; Méphistophélès in Faust with Vancouver Opera and Palm Beach Opera, of which Opera Canada stated, “Peter Volpe's Méphistophélès was debonair, comic, and sinister in the right proportions, while his rich voice poured forth like molten brimstone,” and The Globe and Mail said “bass Peter Volpe proved to be an excellent Méphistophélès, both vocally and dramatically, shining from his first big moment - Le veau d'or est toujours debout - onward. Volpe balanced the demonic and comic elements of his character, and the audience responded to his sardonic wit with outbursts of laughter”; and Raimondo in Lucia di Lammermoor with Atlanta Opera, Austin Opera, and Portland Opera about which Opera News noted, “The best solo singing, strong and beautiful, came from bass Peter Volpe as a compassionate Raimondo.” Additionally, Volpe has received much acclaim for his interpretation of the evil assassin Sparafucile in Rigoletto which he has performed prolifically, in houses such as New York City Opera, Opera Manitoba, Edmonton Opera, Opera Lyra Ottawa, Arizona Opera, Austin Opera, and Kentucky Opera and for which he garnered handsome reviews from the Tucson Citizen : “Making his AOC début, the production's Sparafucile, Peter Volpe, was likewise the real thing. Now this is a bass! Big, solid, and earth-shaking, the handsome assassin's voice had the ominous aura one always wishes for but too seldom finds”; The Financial Times : “ The best performances came from...Peter Volpe as a dark-toned Sparafucile”; and The Oregonian : “As the assassin Sparafucile, Peter Volpe commanded the stage with his splendid bad-guy bass, all darkness and low notes.” Other notable roles in Mr. Volpe’s expansive repertoire include Ramfis in Aïda (Palm Beach Opera, Austin Opera, Michigan Opera Theatre, Arizona Opera), Il Commendatore in Don Giovanni (Washington National Opera, Arizona Opera), Frère Laurent in Roméo et Juliette (Vancouver Opera, Austin Opera, Michigan Opera Theatre), Gremin in Eugene Onegin (Spoleto Festival USA, Vancouver Opera, Opera Lyra Ottawa, Lyric Opera of Kansas City), König Ludwig in Euryanthe (Bard SummerScape), Marquis of Calatrava and the cover of Guardiano in La forza del destino (Washington National Opera), Basilio in Il barbiere di Siviglia (Opera Omaha, Edmonton Opera, Vancouver Opera), Zuniga in Carmen (Seiji Ozawa Opera Project in Japan, Arizona Opera), Banquo in Macbeth (Portland Opera, Arizona Opera), Timur in Turandot (Opera Lyra Ottawa, Portland Opera, Manitoba Opera, Florentine Opera, New Orleans), and Ferrando in Il trovatore (Arizona Opera, New Jersey State Opera, Augusta Opera), productions of Britten’s Billy Budd and Tchaikovsky’s The Maid of Orleans (Washington National Opera), Salome , Nabucco , and Roméo et Juliette (San Francisco Opera), covers of Pistola in Falstaff , Silva in Ernani , and Méphistophélès in Faust (Lyric Opera of Chicago), and Pimen in Boris Godunov with Jerome Hines as Boris (New Jersey State Opera). A consummate concert artist, Mr. Volpe has performed Verdi’s Requiem with the Philharmonia Orchestra of London at the Chichester Festival, the Manhattan Philharmonic at Carnegie Hall, the Chattanooga Symphony, L’Orchestra di Imola in Italy, Oberlin Conservatory, Arizona State University, Indianapolis Symphony, Queens Symphony, the Augusta Choral Society, and the New Jersey Symphony, which was recorded and subsequently released on CD. In addition, he has performed Beethoven’s Symphony No. 9 with the Chattanooga Symphony, Beethoven’s Missa Solemnis with the Metropolitan Opera Orchestra, Edmonton Symphony, and Augusta Choral Society, Händel’s Messiah with the Edmonton Symphony and Louisville Orchestra, Mozart’s Requiem with the Choral Society of Philadelphia, and an all-Verdi concert with The Washington Chorus at The Kennedy Center for the Performing Arts in Washington, D.C. While consistently in demand, Mr. Volpe remains a focused performer, concert soloist, and talented educator who feels an affinity for mentoring developing singers. In this vein, he frequently gives master classes and voice lessons in conjunction with his engagements. A few such venues include Arizona State University, Opera Omaha, Arizona Opera, Portland Opera, the Glimmerglass Festival, Austin Opera, and Florida Grand Opera. He has frequently been called upon to judge competitions and serve in an advisory capacity for opera companies and opera agencies. In 2017, Mr. Volpe joined the voice faculty of the prestigious Indiana University Jacobs School of Music. He is also the Artistic Director and head voice teacher of the Opera Lucca summer festival. Mr. Volpe was born and raised on Long Island, NY. A second-generation Italian American, he was exposed to opera early in life and quickly developed a passion for the art form. He completed his studies at Indiana University under the tutelage of the great Italian basso Nicola Rossi-Lemeni, who took Volpe on as his protégé and to whom Mr. Volpe attributes his technique and knowledge of the bass repertoire. Shortly after the completion of his studies, Mr. Volpe was accepted into the prestigious Merola Program at San Francisco Opera and subsequently made his San Francisco Opera main stage début at 26 years of age. He has received awards and mentions from Riccione Grande Musica , Who’s Who in America, the MacAllister Vocal Awards Competition, the Palm Beach Opera Vocal Competition, the Sylvia Getzky Competition, and as a Commack Alumnus of Distinction . Current as of September 1, 2025 FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony CRITICAL ACCLAIM "...commanding, deep and penetrating voice...” – Nuvo Indy’s Alternative Voice Don Giovanni – “Hearing Peter Volpe as the Commendatore was the biggest treat of them all. His scene in Act 2, as the ghost trying to get a stubborn Don Giovanni to change his ways was chilling and even frightening with his commanding, deep and penetrating voice.” __________ “...the standout performer of the evening..." – Austin Post Don Carlo – “The standout performer of the evening was Peter Volpe as King Phillip. His stage presence and deep bass were captivating” __________ "...a commanding presence..." – Opera Japonica Aïda – “Peter Volpe, too, was a commanding presence and his Ramfís was vocally solid down to the lowest notes.” __________ "...full-bodied bass and great candor of tone..." – Opera News Eugene Onegin – “Peter Volpe, looking younger than many who take on the role of Prince Gremin, managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.” __________ "...his virile bass caressed “Deh vieni alla finestra” sensuously…” – Opera News Don Giovanni – “Peter Volpe’s handsome figure and aristocratic bearing made for good casting as Giovanni. His virile bass caressed “Deh vieni alla finestra” sensuously…” __________ "...a commanding presence..." – Opera Japonica Aïda – “Peter Volpe, too, was a commanding presence and his Ramfís was vocally solid down to the lowest notes.” __________ "...full-bodied bass and great candor of tone..." – Opera News Eugene Onegin – “Peter Volpe, looking younger than many who take on the role of Prince Gremin, managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of tone, together with his intelligent interpretation, won him a well-deserved ovation.” __________ "...his virile bass caressed “Deh vieni alla finestra” sensuously…” – Opera News Don Giovanni – “Peter Volpe’s handsome figure and aristocratic bearing made for good casting as Giovanni. His virile bass caressed “Deh vieni alla finestra” sensuously…”

View artist profile - DIRECTOR ARTIST WEBSITE FENLON LAMB DIRECTOR BIOGRAPHY “[Fenlon Lamb is] one of the most creative forces...presenting satisfying and ingenious productions.” – The Kansas City Star Praised for her “well-honed theatrical sensibility” ( Seen and HeardInternational ), Fenlon Lamb is the co-creator and Artistic Director ofPapermoon Opera Productions, a production company that she launchedwith her artistic partner, Jefferson Ridenour. In years past, Papermoon hascreated new productions of Madama Butterfly for Inland NW Opera, DonGiovanni and Carmen for Pensacola Opera, Il barbiere di Siviglia forAmarillo Opera, and remounted their flagship production and Hänsel und Gretel at Palm Beach Opera. In addition, Papermoon’s La voix humaine received first place in the National Opera Association competition. Most recently, Papermoon productions appeared at Amarillo Opera ( Hänsel und Gretel ) and Opera Delaware ( The Barber of Seville and The Marriage of Figaro ) . Most recently, Lamb brought her beloved direction of Carmen to Opera Santa Barbara, Le nozze di Figaro to Portland Opera, and La fanciulla del West to Central City Opera, all of which received critical acclaim. In the current 2024-2025 season, Lamb is slated to direct Carmen for Amarillo Opera, before directing Juliet Letters at Portland Opera, Rigoletto at Eugene Opera, and Don Giovanni at Madison Opera. READ MORE In recent seasons, Lamb has returned to Madison Opera for Lucia di Lammermoor , Palm Beach Opera for L’elisir d’amore , and New Orleans Opera for La bohème . She also directed a filmed version of Mozart and Salieri for Opera San Jose, Charlie Parker’s Yardbird for Dayton Opera, and Così fan tutte for Palm Beach Opera. As a frequent collaborator with Arizona Opera, Lamb directed the world premiere production of Riders of the Purple Sage and returned to the company in 2021 for a “fantastic revival of this timely western” ( Opera Wire) . A documentary entitled RIDERS OF THE PURPLE SAGE: THE MAKING OF A WESTERN OPERA following the production from conception to premiere was released in March of 2021, which Broadway World declared “[a] soaring and epic testimonial to the creative process.” Moreover, Fenlon has directed new productions of Charlie Parker’s Yardbird for Arizona Opera and Scalia/Ginsburg for Opera Delaware. Fenlon has also directed Carmen for Annapolis Opera, North Carolina Opera, Mill City Summer Opera and Dayton Opera along with engaging productions of Tosca, La bohème, Il barbiere di Siviglia and Don Pasquale for Palm Beach Opera. Other highlights include Der fliegende Holländer for Opera Carolina with Greer Grimsley in the title role and Werther with Gran Wilson at Mobile Opera. As the Director of Opera and Vocal Programming of the Bar Harbor Music Festival, Fenlon has designed and directed engaging productions of Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La Cenerentola, Don Giovanni and Hänsel und Gretel . Current as of September 1, 2024 CRITICAL ACCLAIM “…Lamb’s memorable tableau…” – DC Metro Theater Arts Carmen – “Lamb’s memorable tableau was enhanced by superior lighting work, which brightened the colors, especially the cheery colors in the Plaza de Toros scene. “ __________ "...these were among Lamb’s original inventions, and they worked...” – Palm Beach Daily News Tosca – “In the world of Harvey Weinstein and the #Me Too movement, Tosca’s travails take on new meaning, and Fenlon Lamb’s staging – mostly traditional but peppered with subtle added touches – lent a modernity to this operatic chestnut that shocked some viewers at its premiere in 1900 in Rome. Tosca’s desperation resulting in her stabbing Scarpia first in the stomach, then in the back; her jumping off the parapet backward at the end, cornered and afraid to look down: these were among Lamb’s original inventions, and they worked” __________ "...Director Fenlon Lamb keeps a breathless pace without degenerating into clichéd sight gags..." – South Florida Classical Review Il barbiere di Siviglia – “Palm Beach Opera’s production opened Friday night at the Kravis Center and hit all the right notes. Throughout the performance, the audience laughed uproariously at the cannily staged, nonstop comedy and cheered the cast at the final curtain. Director Fenlon Lamb keeps a breathless pace without degenerating into clichéd sight gags. Strobe lights enhance the wonderful confusion of the Act I finale while the storm scene is staged as a Keystone Cops silent movie pantomime. Displaying theatrical ingenuity and artistic taste, Lamb’s staging captures the essence of bubbly opera buffa rather than exaggerated sitcom.” __________ “...the lighting and the projections of Michael Baumgarten and Fenlon Lamb added much to the constantly changing moods..." – CVNC Der fliegende Holländer – “The lighting and the projections of Michael Baumgarten and Fenlon Lamb added much to the constantly changing moods. Working within a traditional set design (on loan from the Arizona Opera), with an actual mock-up of a sailing vessel crossing the stage, projections on the scrim in front and on the back cyclorama were an integral part of the staging. An unusual innovation during the overture was a retrospective insight into Senta’s obsession with the legend of the Flying Dutchman, done with projections and showing the child Senta already fascinated by the dark tragedy of the Holländer.” __________ "...she did not give [the cast] a second’s worth of down time while they were on stage..." – Bar Harbor Times L’Elisir d’Amore – “Major kudos to Fenlon Lamb who directed this delightful show. Not only did she gather together a terrific little cast – drawing them, literally, from coast to coast – she did not give them a second’s worth of down time while they were on stage – engaging them every moment with some bit of stage business, even when they weren’t singing. In fact some of the most hilarious moments were done in pantomime.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Shawn Marie Jeffery General

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View artist profile - COUNTERTENOR ARTIST WEBSITE FACEBOOK INSTAGRAM YOUTUBE RANDALL SCOTTING COUNTERTENOR BIOGRAPHY Countertenor Randall Scotting has quickly become a sought-after artist by many of the world’s leading opera houses and concert halls. He’s recently made standout debuts at The Royal Opera House, Bayerische Staatsoper, and Staatsoper Hamburg. Coming up, he’ll sing for the first time at La Fenice in Venice in the major role of Adonis in Sciarrino’s Venere e Adone , and he makes his Carnegie Hall debut in Handel’s Messiah . March 2026 also brings the release of his next album on the Signum label with the Academy of Ancient Music and Laurence Cummings, The Divine Impresario, featuring virtuoso castrato arias. Randall’s breakthrough came in 2019 at London’s Royal Opera House when he stepped in last-minute for Sir David McVicar’s production of Britten’s Death in Venice . His performance drew praise for “singing brilliantly,” and he went on to complete the run to sold-out houses, with the production also being broadcast on the BBC. That success led directly to his joining the Metropolitan Opera’s roster, and he’s since become a regular on the world’s top stages. READ MORE Audiences and critics alike admire Randall for his dramatic intensity, musical sensitivity, and engaging stage presence. His portrayal of the Refugee in Jonathan Dove’s Flight (Seattle Opera, 2021) drew glowing reviews—“marvelous,” “compelling,” “warm, focused, and fluid.” In 2023 he originated the role of Adonis in the world premiere of Sciarrino’s Venere e Adone at Staatsoper Hamburg with Kent Nagano, earning praise as “vocally and physically muscular,” “wonderfully strong and supple,” and “luminous.” Randall is also making his mark as a recording artist. His 2022 debut solo album The Crown, recorded with the Orchestra of the Age of Enlightenment and conductor Laurence Cummings, introduced modern-day premieres of show-piece arias composed for the legendary castrato Senesino and he won international acclaim for “ravishing vocalism” and ““impressive beauty and warmth” tone. His follow-up, Lovesick with Grammy-winner and lutenist Stephen Stubbs, offered intimate lute and folk songs and drew glowing reviews from Gramophone, BBC Music Magazine, and Limelight, which called it “gorgeous” and “beautifully sung”. “Most recently, Infinite Refrain with the Academy of Ancient Music explores 17th-century works by Monteverdi and his contemporaries through the lens of gay love, praised as both “vibrantly seductive” and “a strikingly beautiful declaration of same-sex love”. Randall’s career has taken him to major US and European houses and venues: the Met, the Royal Opera House, Staatsoper Hamburg, Seattle Opera, Santa Fe Opera, the New York Philharmonic, Spoleto Festival, Pinchgut Opera, the Göttingen Handel Festival, and more. Concert appearances include Carnegie Hall, National Sawdust, Edinburgh’s Saint Cecilia’s Hall, the Christchurch International Arts Festival, and Boston Baroque. He has also appeared on the BBC documentary Mozart’s London Odyssey, performing music by J.C. Bach and discussing the young Mozart. Favorite roles include Handel’s Rinaldo, Orlando, and Giulio Cesare; Britten’s A Midsummer Night’s Dream; Cavalli’s Eliogabalo; and Gluck’s Orfeo. Beyond the classical stage, Randall embraces a wide range of repertoire, from art song and new commissions to cabaret and crossover projects. He has appeared in staged productions of Xenakis’ The Oresteia , Schoenberg’s Pierrot Lunaire , and Maxwell Davies’s Eight Songs for a Mad King ; improvised live with Bobby McFerrin at Carnegie Hall; and performed with the boundary-pushing troupe Company XIV, delivering virtuosic opera, folk, and pop numbers while strip-teasing in thigh-high platform stilettos. Randall trained at the Royal College of Music in London, The Juilliard School in New York, and as a Fulbright Scholar and as a Fulbright Scholar at the Liszt Academy in Budapest. He also holds a PhD in eighteenth-century Italian opera. Randall made his leading operatic debut at Spoleto’s Festival dei Due Mondi in Vivaldi’s Ercole sul Termodonte (available on DVD) with Il Complesso Barocco. Other recordings include the title role in Caldara’s Santo Stefano primo re dell’Ungheria and the modern cantata Dive: A Water Music for chorus and countertenor. Current as of October 1, 2025 CRITICAL ACCLAIM “…an athletic body and luminous singing…” – Ópera Actual (Spain) Venere e Adone – “El contratenor Randall Scotting aportó un cuerpo atlético y un canto luminoso a su apropiadamente petulante Adone ” [tr.] Countertenor Randall Scotting brought an athletic body and luminous singing to his appropriately smug Adone ” __________ "…ravishing vocalism… " - BBC Music Magazine (United Kingdom) The Crown, Heroic Arias for Senesino – “★★★★ In this debut solo album, countertenor Randall Scotting lets loose a ravishing vocalism… Scotting applies deep colours, muscular core, and baritonal chest register to probe a huge range of feelings. In bravura numbers he pushes tempos to fever pitch, egging the other performers on, often through thrilling roulades. On slower tracks, Scotting’s messa da voce is mesmerising in music about love and despair alike. Scotting’s sensational 2019 Covent Garden debut showed off his superb acting, and this recording captures his dramatic artistry. ” __________ "… full, darkly mellifluous voice… " - Gramophone , United Kingdom The Crown, Heroic Arias for Senesino – “Scotting’s full, darkly mellifluous voice – smooth and even throughout its range, with a resonant lower register – is well suited to these elegies, meditations and amorous outpourings… [He] shapes each aria with a feeling for the character’s predicament .” __________ “…vocally and physically muscular…” – The New Yorker Venere e Adone – “Randall Scotting is a vocally and physically muscular Adonis .” __________ "… impressively even and agile, with a warm, natural vibrato and beguiling timbre…” – Limelight (Australia) The Crown, Heroic Arias for Senesino – “★★★★ [Scotting’s] impressively even and agile instrument, with its warm, natural vibrato and particularly beguiling timbre in the lower range. Here, as indeed throughout the program, Scotting’s cadenzas and da capo ornaments are, like the man, both confident and stylish… If charismatically sung baroque opera arias are your thing, Randall Scotting is your man. ” __________ "… Not only beautifully sung, but “lived… " - Opera Charm Magazine Lovesick, songs on heartbreak and solitude – “Not only beautifully sung, but “lived” by Scotting… The expressivity of his vocal inflections is of an august individuality. There is a genuineness which makes the listener’s perception of melancholy ever so present and visceral… He sings passionately, immersing the listener… Lovesick is an album that will stir up any music lover’s sense of emotion, and it will carry them through a whirlwind of feelings ” __________ "...Scotting is marvelous... compelling actor..." – Musical America Flight – “American countertenor Randall Scotting is marvelous as the Refugee, his plangent, rich-toned instrument possessing just the right degree of otherworldliness to suggest his mysterious origins and the complexities of his unique dilemma. He’s a compelling actor as well, which ensures that his final aria and its dramatic reveal (no spoilers) lands with due pathos.” __________ "...sung brilliantly..." – Le Salon Musical Death in Venice – “Apollo è cantato brillantemente dal controtenore Randall Scotting.” |tr| “Apollo is sung brilliantly by countertenor Randall Scotting.” __________ "...there can surely only be a handful of singers on the planet that can carry this off..." – The Christchurch Mail Oresteia – “Scotting was absolutely amazing, commanding the stage for two long periods of demanding extremes […] There can surely only be a handful of singers on the planet that can carry this off and with his strong physical presence he really was remarkable.” __________ "...his vocal choices are imaginative and always stylish..." – Limelight Magazine Orlando – “Randall Scotting’s Orlando is highly watchable. He delivers a most convincing dramatic and musical performance… his vocal choices are imaginative and always stylish – ‘Fammi combattere’ is terrifically decorated – and he grows in intensity as the evening progresses, delivering an excellent mad scene.” __________ "...he made it feel like a showpiece, as though we’ve been listening to it forever…" – Allegri con fuoco Rinaldo – “Randall Scotting in the role of Rinaldo lent this aria [“Cara sposa, amante cara”] an emotionality that burst out into the space and pushed against the ceiling. Imbuing it with the confidence of familiarity, he made it feel like a showpiece, as though we’ve been listening to it forever… Scotting showed that it was his night. He really shined as Rinaldo.” __________ "...a very clear, sweet tone that captivates the audience..." – TheaterJones Giulio Cesare – “Scotting handles the complex technical demands of the music well, but his greatest strength lies in his intensely lyrical musical ability. He has a very clear, sweet tone that captivates the audience in many of his arias… he exudes the idea of a man’s man – a masculine hero who makes women swoon… the performances are world class.” FULL PRESS KIT LATEST NEWS REPRESENTATIVES Vanessa Uzan General/Opera Adrienne Boris Symphony