Marc Sala is a lyric tenor born in Barcelona, specializing in the works of Mozart and the belcanto repertoire.
He studied at the Conservatori Superior de Música del Liceu in Barcelona with the tenor Eduard Giménez and at the Conservatorio Superior Música Valencia “Joaquín Rodrigo” with Ana Luisa Chova. He has participated in several masterclasses with great artists such as Montserrat Caballé, Raúl Giménez, Leyla Gencer, Luciana Serra, Dolora Zajick and Jaume Aragall.
Marc has performed at the Gran Teatre del Liceu, the Palau de la Música Catalana, the Auditori de Barcelona, the Teatro Campoamor in Oviedo, the Las Palmas Opera House, the Teatro Mario del Monaco in Treviso, the Teatro Comunale di Ferrara, and at the Rossini Festival in Wildbad, Germany. He has worked under the direction of conductors such as Gustavo Dudamel, Riccardo Frizza, Pinchas Steinberg, Corrado Rovaris, and Gustav Kuhn.
He has participated in several contemporary works such as Alba Eterna by Albert Guinovart, Ainadamar by Osvaldo Golijov, and The Monster in the Maze by Jonathan Dove (Festival Grec 2018).
Marc was the winner of the Ferrer Salat prize at the prestigious Concurso Viñas in Barcelona and a finalist in the Montserrat Caballé international singing contest. His discography includes Rossini’s Le Siège de Corinthe (Naxos) and the opera Gaziel by E. Granados (Tritó).
Quintana Artist Management proudly represents Mr. Sala in the North American region.
Most recently, Noah Stewart enjoyed tremendous successes during the 2021-2022 season with performances of Don José in Carmen and Tony in West Side Story with Opera San Jose. The San Francisco Chronicle reported on his performance in the latter with, “Tenor Noah Stewart delivered an ardent, expressively fluid performance as Tony, bringing an air of eager anticipation to the jouncy phrases of “Something’s Coming” and caressing the melody of “Maria” with sensuous abandon.” Other appearances of note that season included Don José in Carmen with Opera Orlando, Rodolfo in La bohème with Northern Ireland Opera, and Cavaradossi in Tosca with Portland Opera.
Mr. Stewart made his professional debut with San Francisco Opera as Macduff and since then has performed widely across the US. His roles include, among others, Cavaradossi (Opera New Orleans, Birmingham Opera, Michigan Opera Theater), Rodolfo (Opera Columbus, Nashville Opera, FlorentineOpera, New Orleans Opera, Michigan Opera Theater, Orlando Philharmonic), Luigi in Il Tabarro (Castleton Festival), Pinkerton (New Jersey Festival Opera, Michigan Opera Theater), Radames (Glimmerglass Festival, Berks Opera), Manrico (Festival Opera, North Carolina Opera), Ismaele and Nadir (both with Michigan Opera Theater), Don José (Syracuse Opera, Chicago Opera Theater), the title role in Gounod’s Faust (Atlanta Opera), Tamino (Florentine Opera, New Orleans Opera) as well as contemporary repertoire such as Greenhorn in Moby Dick (Opera San José) and the Prince in A Flowering Tree(Chicago Opera Theater).
In Europe, he most recently sang Cavaradossi with the Nederlandse Reisopera, Don José at Göteborg Opera, the Llangollen Festival in Wales and Scottish Opera, Samson at the Festival Internacional de Teatro Clásico de Méridain Spain and Osaka in Iris with Opera Holland Park.
In spring 2012, he made his debut at the Royal Opera House Covent Garden as Hassan in Judith Weir’s Miss Fortune, a role he premiered at the Bregenzer Festspiele (Austria) the year before. He then returned to Covent Garden for Pinkerton and sang Don Pedro de Alvarado in Peter Sellars’ acclaimed new version of Purcell’s The Indian Queen, a co-production of Teatro Real Madrid, Opera Perm and English National Opera (DVD release by SONY) with extra performances at the Bolshoi Opera. Further European career highlights include Pinkerton with Opera North, Rodolfo with Wexford Opera Festival and Don José at the Royal Albert Hall.
On the concert stage, Noah Stewart has appeared with notable orchestras such as the Hallé Orchestra, London Philharmonic, BBC Concert Orchestra, Birmingham Symphony, Scottish Symphony, Royal Philharmonic,Manchester Philharmonic, Gulbenkian Symphony Orchestra, Boston Symphony Orchestra, John Wilson Orchestra, Ulster Orchestra, Berkeley Symphony and San Francisco Chorale. He has performed on three BBC Proms concerts and was named a “BBC Music Ambassador”. He made his broadcasting debut at The Cardiff Singer of the World on the BBC and in 2012 became the first black musician ever to top the UK Classical Album Charts, when his album “Noah” (DECCA) reached number one and remained there for 7 weeks.
Upon recommendation of his mentor, Leontyne Price, Noah Stewart studied at The Juilliard School, where he was awarded a full scholarship. Subsequently, he was accepted into San Francisco Opera’s prestigious Merola Program, where he would also be named an Adler fellow, and continued his studies at the Academy of Vocal Arts. He won numerous prizes at international competitions, including the Palm Beach Opera Vocal Competition, the Leontyne Price Vocal Arts Competition, the George London Foundation Awards, the Licia Albanese-Puccini Foundation Awards, the Opera Index Competitions, and the Mario Lanza Competition for Tenors (First Prize).
An acclaimed interpreter of contemporary works as well as the inherited repertoire, Wes has performed more than 50 unique operatic roles. Highlights include Hannah Before in As One with Pensacola Opera, Eugene Opera, and the Lyric Opera of Kansas City, Jan Nyman in Breaking the Waves with West Edge Opera, Stanley Kowalski in A Streetcar Named Desire with Kentucky Opera, Father Flynn in Doubtwith Union Avenue Opera, Jonathan in Siren Song with Hawaii Opera Theatre, Dax/Larry in the world premiere of Paterson and Cote’s Three Way with Nashville Opera and American Opera Project, Charlie in Three Decembers and Ping in Turandot with Nashville Opera, the title role in Hamlet with Fort Worth Opera, the title role in Guillaume Tell with the Southern Illinois Music Festival, Reinaldo Arenas in the world premiere of Martín and Koch’s Before Night Falls with Fort Worth Opera, Belcore in L’elisir d’amore with Gulfshore Opera, Masetto in Don Giovanni with Opera Philadelphia and Opera Naples, Achilla in Giulio Cesare with Opera Roanoke, Escamillo in Carmen with Fargo-Moorhead Opera, Escamillo in La Tragédie de Carmenwith Syracuse Opera, Marcello in La bohème with Hawaii Opera Theatre, Fort Worth Opera, and Norwalk Symphony, Schaunard in La bohème with the Crested Butte Music Festival, Zurga in Les pêcheurs de perles with Opera Delaware and Baltimore Concert Opera, the baritone soloist in Broadway Extravaganzawith Opera Hong Kong, Sciarrone in Tosca with Dallas Opera, and Morales in Carmen with the Glimmerglass Festival and Michigan Opera Theater.
Recently, Wes returned to Michigan Opera Theatre to perform the role of Figaro in Ragnar Kjartansson’s performance piece Bliss, a continuous 12-hour singing marathon based on Mozart’s Le nozze di Figaro. In 2020, Wes made his Off-Broadway debut as Wotan/Gunther/Hagen in On Site Opera’s production of Das Barbecü. Other noted stage performances include Billy Bigelow in Carousel with Union Avenue Opera and Utah Festival Opera Musical Theater, Curly in Oklahoma! with Maryland Live Arts and UFOMT, Bishop Myriel in Les Misérables with UFOMT, Frank Butler (u/s) in Annie Get Your Gun with the Glimmerglass Festival, and a staged version of Elvis Costello’s The Juliet Letters at the Signature Theatre in Arlington, Virginia with Urban Arias. During the 2022-2023 season, they will return to Pensacola Opera to perform the role of Billy Bigelow in Carousel.
A passionate advocate for new works, Wes has enjoyed working with such composers as Laura Kaminsky, Luna Pearl Woolf, Missy Mazzoli, Stephen Schwartz, Jimmy Roberts, Jake Heggie, Jonathan Dove, Ricky Ian Gordon, Jorge Martín, Conrad Cummings, Robert Paterson, Glen Roven, Mark Adamo, Clint Borzoni, and Robert Maggio.
Mason has been featured on the world premiere cast recordings of Three Wayas Dax/Larry with Naxos and Before Night Fallsas Reinaldo Arenas with Albany Records. Wes was also a recipient of a Career Development Award from the Sullivan Foundation, a finalist in the Opera Index Competition, an Encouragement Award Winner in the Loren L. Zachary Society Competition, a Regional Winner in the Metropolitan Opera National Council Auditions (MONCA), an Encouragement Award Winner at the District Level of the MONCA, a three-time nominee for the Sarah Tucker Study Grant, and the recipient of the Earl V. Moore Award for Outstanding Contribution to the School of Music, Theater, and Dance at the University of Michigan. Wes is a graduate of the prestigious Academy of Vocal Arts in Philadelphia and received a Bachelor’s in Voice Performance from the University of Michigan.
Known for his riveting dramatic portrayals and the power and beauty of his voice, American baritone Morgan Smith has been entrusted to create 16 roles in world premieres, including Starbuck in Jake Heggie’s widely celebrated Moby-Dick. Mr. Smith has also earned universal praise for performances in traditional repertoire, notably Escamillo (Carmen), the title role of Don Giovanni, Sharpless (Madama Butterfly), Count Alamaviva (Le nozze di Figaro), Four Villains (Les contes d’Hoffmann), and the title role of Eugene Onegin.
Most recently, Morgan’s work as Richard in Kevin Puts’ The Hours has been heard in workshops with Cincinnati Opera (2021) and The Metropolitan Opera (2022), as well as a cover assignment with the Philadelphia Orchestra (2022).
Prior to the impact of COVID, Morgan began the 2019/20 season fresh from two highly successful role debuts with Cincinnati Opera: Musiklehrer (Ariadne auf Naxos), and Earl Mann in the widely anticipated and greatly acclaimed premiere of Scott Davenport Richards’ and David Cote’s Blind Injustice. He revisited the role of Eugene Onegin with Livermore Valley Opera before appearing in Seattle as soloist in Mozart’s Requiem with the Seattle Symphony. Later that season, Morgan debuted with the Atlanta Symphony as soloist in Ralph Vaughan Williams’ Serenade to Music, and J. S. Bach’s Cantata 29.
Recent successes include Scarpia in Tosca with National Taiwan Symphony Orchestra, Herman in Ben Moore’s Enemies, a Love Story with Kentucky Opera, Paul Jobs in The (R)Evolution of Steve Jobs with Seattle Opera, Tadeusz in Weinberg’s The Passenger with Israeli Opera, Joseph De Rocher in Dead Man Walking with Welsh National Opera, his title role debut of Eugene Onegin at Lyric Opera Kansas City, Sharpless in Madama Butterfly at Kentucky Opera and Opéra de Montréal; the reprise of his critically acclaimed Starbuck at Dallas Opera and LA Opera, Marcello in La bohème with Oper Leipzig and San Diego Opera. Mr. Smith performed Don Giovanni with Arizona Opera, Austin Opera, and Baltimore Symphony Orchestra. He received rave reviews for his riveting portrayal of Joseph De Rocher in Dead Man Walking at Kentucky Opera and Opera on the Avalon in 2017.
Other performances of note included Escamillo in Carmen at Vancouver Opera, Pittsburgh Opera and Fort Worth Opera and Beethoven’s Ninth Symphony with Seattle Symphony. He joined the San Francisco Gay Men’s Chorus at Davies Hall to revive the role of Manfred in Jake Heggie’s poignant For a Look or a Touch (another role he created). Mr. Smith starred as Aaron in the world premiere of Ricky Ian Gordon’s Morning Star at Cincinnati Opera, for which he won outstanding reviews. He sang Adam Brant in Mourning Becomes Electra at Florida Grand Opera; Tadeusz in The Passenger in the US premiere of David Pountney’s production at both Houston Grand Opera and Lincoln Center Festival; and Fritz in Die tote Stadt at Dallas Opera. Mr. Smith was honored to sing the role of Lieutenant Audebert in Silent Night in Fort Worth Opera’s presentation of Kevin Puts’ Pulitzer Prize winning opera.
Smith made his European guest artist debut at the Berliner Staatsoper in 2011, performing Marcello in La bohème. Fully fluent in German, Mr. Smith joined Oper Leipzig in 2009 as a resident artist. Over the following four years he sang Figaro in Il Barbiere di Siviglia, Billy in The Rise and Fall of the City of Mahagonny, Papageno in Die Zauberflöte, Dr. Falke in Die Fledermaus, Leandre in The Love for Three Oranges, Whitelaw Savory in One Touch of Venus, Marcello in La bohème, and Guglielmo in Così fan tutte.
A regular on the concert stage, Mr. Smith made his Dallas Symphony debut in Bach’s St. Matthew Passion under the baton of Jaap van Zweden, and debuted with the San Antonio Symphony for the North American premiere of Vier Präludien und Ernste Gesänge, Detlef Glanert’s orchestral adaptation of the beloved cycle by Brahms. Other concert repertoire includes Beethoven’s Ninth Symphony; the Requiems of Brahms, Fauré, Mozart and Duruflé; the Mass in C Minor of Mozart, Mass in G Minor and Serenade to Music of Vaughan Williams; Bach’s B Minor Mass, numerous Cantatas, and Weihnachts Oratorium; Handel’s Messiah and L’Allegro, il Penseroso ed il Moderato; and Haydn’s The Creation and Lord Nelson Mass.
Morgan has collaborated with prolific conductors such as Jaap van Zweden, Donald Runnicles, Itzhak Perlman, James Conlon, Ulf Schirmer, Christopher Allen, Robert Spano, Markus Stenz, Jacques LaCombe, Andreas Stöhr, Gerard Schwarz, Matthew Halls, Patrick Summers, Eduardo Mueller, Andrés Orozco-Estrada, Sebastian Lang-Lessing, Joseph Colaneri, George Manahan, Ramón Tebar, Jack Everly, Joseph Mechavich, James Meena, Emmanuel Villaume, Ken Masur, John DeMain, Ari Pelto, and Antony Walker.
American Bass Eric Delagrange, a native of Buffalo, New York, recently completed his residency at the prestigious Academy of Vocal Arts. He has been described by Opera News as “a truly excellent bass,” and Parterre has lauded his “powerful, attention-getting voice.”
During the 2021-2022 season, Delagrange was seen as Prince Gremin in Eugene Onegin with Music Academy of the West and Superintendent Budd in Albert Herring with the Princeton Festival. Other season highlights included Colline in La bohème and Zaretsky/Captain in Eugene Onegin, with The Academy of Vocal Arts.
In the 2019-2020 season, Mr. Delagrange made his role debut as Balthazar in La Favorite at The Academy of Vocal Arts. That December, he made his debut with Heartbeat Opera in Louisa Proske and Chloe Treat’s production of Der Freischütz, as Hermit. In October of 2019, Delagrange joined pianist Brent Funderburk in a Recital Series at The Hill Stead Museum in Farmington, Connecticut.
Delagrange is a Philadelphia District Winner of the Metropolitan Opera’s Laffont Competition (2022), 2nd prize winner of the Orpheus Vocal Competition (2021), Finalist in the XVI Montserrat Caballé International Singing Competition (2021), Special Judges Award and Audience Choice Winner of the Giargiari Bel Canto Competition (2020), a recipient of the Cynthia Vernardakis Award at the Orpheus Vocal Competition (2018), Dr. & Mrs. Bob Robinson Award at the Shreveport Opera Mary Jacobs Smith Competition (2017), and a recipient of the American Opera Society of Chicago Award (2014).
Zachary James is an international opera singer and recording artist, Broadway & TV actor, 2022 GRAMMY Award winner, BroadwayWorld Vocalist of the Decade, Classical Post’s Most Innovative Artist, Verismo Magazine’s Breakout Artist of the Year and among Opera Wire’s 30 Most Influential LGBTQ+ Artists.
Acknowledged as “a true stage animal” (Opera News), Mr. James is known for his “huge, robust bass” which “resonates with force” (Bach Track), “tremendous power and presence” (The Arts Desk, London). Opera News has also referred to his instrument as “intrinsically beautiful”, a “cavernous bass” with “oomph and range”.
Recent highlights and upcoming season engagements include the Immigration Officer in Flight with Dallas Opera, the title role in Sweeney Todd with Opera Omaha, a return to Akhnaten with The Metropolitan Opera, The Pirate King in The Pirates of Penzance with Cincinnati Opera, Lucius/Witch in the World Premiere of Paola Prestini’s Edward Tulane with Minnesota Opera, and Sciarrone in Tosca with LA Opera.
Mr. James created the role of Lurch in The Addams Family musical on Broadway, the role of Abraham Lincoln in the world premiere of Philip Glass’s opera The Perfect American at the Teatro Real in Madrid (a role he reprised for London’s English National Opera and Australia’s Opera Queensland), Oberon in the world premiere of Kristin Hevner’s Il Sogno at the Teatro Citta della Pieve in Umbria and the role of Terry in the world premiere of Breaking The Waves at Opera Philadelphia. A winner of the Lotte Lenya Competition, Zach has also been engaged by The Metropolitan Opera, LA Opera, Opera Omaha, Minnesota Opera, Dallas Opera, Opera Philadelphia, Opera Saratoga, On Site Opera, Virginia Opera, Nashville Opera, Des Moines Metro Opera, Arizona Opera, Fort Worth Opera, Opera Roanaoke, Florentine Opera, Opera Ithaca, Shreveport Opera, Anchorage Opera, Union Avenue Opera, Schlossoper Haldenstein, Switzerland, Central City Opera, Ash Lawn Opera and Knoxville Opera, Phoenicia International Festival of The Voice, Prototype Festival NYC, Metropolis Opera Project, Chutzpah Festival, American Lyric Theatre and Illuminarts Miami.
Mr. James’s orchestral concert engagements include performances with The Philadelphia Orchestra, NHK Symphony Orchestra Tokyo, The New York Philharmonic, NYC Ballet, American Symphony Orchestra, Symphony of the Mountains, MasterVoices NYC, Southern New Jersey Symphony, Cape Cod Symphony and Knoxville Symphony Orchestra. He has also performed cabaret acts throughout the United States including at Carnegie Hall, Birdland, Don’t Tell Mama, Medicine Show, Joe’s Pub, Gorilla Tango, Noce Jazz Club and dozens of other venues around the United States.
His visual album debut, Call Out (audio available on all major streaming platforms, film exclusively on YouTube), has received accolades at twenty-seven film festivals worldwide and was highly commended by London’s Classical Music Digital Awards. The groundbreaking work, featuring all female composers from the classical music industry, has been widely praised as “the direction that opera needs to go” (Opera Box Score), “protean”, “astonishing” and “jaw-dropping” (Parterre Box) and “a combo of rollicking fun and self-revealing moments. It’s a well-planned, lovingly curated, and brilliantly executed mash-up that’s exciting and intelligent…Trust me, it’s all worth watching.” (Opera Wire). His solo show, On Broadway, has played around the United States and was released as an album in 2021 on all streaming platforms.
As a stage actor, Zach originated in three Broadway shows including creating the role of Lurch in the Original Broadway Cast of The Addams Family, Thomas Hassinger in the Tony Award-winning Original Broadway Revival Cast of South Pacific at Lincoln Center, and made his Broadway debut in the 2007 National Theatre of London Broadway transfer, Coram Boy. Zach played Off-Broadway as Pasquale in The Most Happy Fella and Jo-Jo in Irma la Douce, both with Encores! at New York City Center. On screen, Zach has appeared on HBO’s Succession, on the sitcoms 30 Rock and Murphy Brown, on the 2010 Tony Awards live from Radio City Music Hall, PBS Great Performances, Live from Lincoln Center, the Late Show with David Letterman, The Macy’s Thanksgiving Day Parade and more.
Conductor Cody Martin was recently named Music Director at Pensacola Opera, where he has been the Director of Education and Director of the Artists in Residence Program since 2017.
During the 2022-23 season, he leads the company’s first-ever production of Rodgers & Hammerstein’s Carousel, as well as sharing the podium for Forty Forward, a 40th anniversary gala concert. Recent seasons have seen Martin leading productions of Die Zauberflöte, Don Giovanni, As One, Florencia en el Amazonas, Man of La Mancha and María de Buenos Aires in Pensacola, as well as making his debut with Fargo-Moorhead Opera conducting Jake Heggie’s Three Decembers. He was on the music staff of Des Moines Metro Opera for three seasons, most recently serving as associate conductor for Rusalka. He previously worked on productions of A Little Night Music, Orphée et Eurydice, and Falstaff in Des Moines. He was also on the music staff at Arizona Opera for two seasons, working most recently on productions of Rusalka, Madama Butterfly, Riders of the Purple Sage (world premiere), and La Cenerentola. Martin’s experience also includes three seasons with Janiec Opera Company at Brevard Music Center, where he worked as an assistant conductor and coach for productions of The Ballad of Baby Doe, Così fan tutte, Rigoletto, Sweeney Todd, Don Giovanni, and Albert Herring.
An avid proponent of new opera, Martin has worked on multiple premieres, including Arizona Opera’s first world premiere, Craig Bohmler’s Riders of the Purple Sage, with a libretto by Steven Mark Kohn; two workshops of The Copper Queen by Clint Borzoni, with a libretto by John de los Santos; a 2014 workshop of Robert Aldridge’s Sister Carrie, and the world premiere of Michael Ching’s Speed Dating Tonight! at Brevard Music Center.
Cody holds degrees from Murray State University and Florida State University.