One of the most celebrated artists of our time, in a career spanning over 45 years, Rosalind Plowright has sung at the major international theatres such as the Royal Opera House, Covent Garden, The Metropolitan Opera, the Opéra National de Paris, the Bavarian State Opera, the Teatro alla Scala, the Arena di Verona, the Teatro Real, and the Grand Théâtre de Genève. Acclaimed as one of the world’s greatest spinto sopranos, her colleagues included Luciano Pavarotti, Plácido Domingo and José Carreras. Conductors with whom she has worked include Claudio Abbado, Semyon Bychkov, Sylvain Cambreling, Mark Elder, Gianandrea Gavazzeni, Michael Gielen, Carlo Maria Giulini, Hartmut Haenchen, Bernard Haitink, Vladimir Jurowski, Gustav Kuhn, Charles Mackerras, Riccardo Muti, Roger Norrington, Kazushi Ono, Seiji Ozawa, Giuseppe Patané, Antonio Pappano, David Parry, Jérémie Rhorer, Wolfgang Sawallisch, Ulf Schirmer, Giuseppe Sinopoli and Jeffrey Tate.

In 1999, she entered the mezzo-soprano repertoire, and has since sung roles such as Principessa di Bouillon in Adriana Lecouvreur, La Madre in Il Prigioniero, Kostelnicka in Jenufa, Mila’s Mother in Osud, Marfa in Khovanschina, Mme de Croissy in Dialogues des Carmélites, La Zia Principessa in Suor  Angelica, Adelaide in Arabella,  Klytämnestra in Elektra, Amneris in Aïda and Fricka in Das Rheingold / Die Walküre.

Ms. Plowright’s recordings include Il trovatore, La forza del destino, and Mahler Symphony No. 2, for Deutsche Grammophon, Mary Stuart, Hansel and Gretel, Elijah, Aïda and Otello for Chandos, Les contes d’Hoffmann for EMI and La vestale for Orfeo. Her solo recital disc La Belle Dame Sans Merci, a program which she performed at the Buxton Festival, is also available on Romeo Records. Performances available on DVD include Andrea Chénier from both the Bregenz Festival and the Royal Opera House, Covent Garden, Hänsel und Gretel from The Metropolitan Opera, Dialogues des Carmélites from the Théâtre des Champs-Élysées, Suor Angelica from Teatro Alla Scala, Il trovatore from the Arena di Verona and Not the Messiah with the Monty Python team.

Ms. Plowright made her Glyndebourne Festival debut in 2018 as The Old Baroness in Vanessa. Engagements during the 2018-2019 season included Contessa di Coigny in Andrea Chénier for the Royal Opera, London, Mila’s Mother in Osud and Mamma Lucia in Cavalleria Rusticana for Opera North, Mamma Lucia for Gothenburg Opera, Mme de la Haltière in Cendrillon for Angers Nantes Opera and Ulrica in Un ballo in maschera for Opera Holland Park. During the 2020-2021 season, Ms. Plowright appeared as Mamma Lucia in Cavalleria Rusticana, which she also sings on Lise Davidsen’s recital for Universal Classics and at the Staatsoper Stuttgart. Engagements during the 2021-2022 season include Mrs. Sedley in Peter Grimes at both Teatro La Fenice and the Theater an der Wien, her debut with Norwegian National Opera as Grandmother Burjovka in Jenufa, and appearances with the Festival Castel Artès as the Sorceress in Dido and Aeneas and a recital of Kurt Weill songs.

Her current repertoire includes Mrs. Sedley in Peter Grimes, The Old Baroness in Vanessa, La contessa di Coigny – Madelon in Andea Chénier, Kabanicha in Kát’a Kabanova, Mamma Lucia in Cavalleria Rusticana, Madame de la Haltière in Cendrillon, Mme de Croissy in Dialogues des Carmélites, La zia principessa in Suor Angelica, Klytämnestra in Elektra, The Countess in The Queen of Spades and Mme Arvidson in Un ballo in maschera.

Additional recent engagements have included Mrs Sedley in Peter Grimes at the Theater an der Wien and the Opéra National de Lyon, Contessa di Coigny / Madelon in Andrea Chénier at the Bregenz Festival, Contessa di Coigny in Andrea Chénier for the Royal Opera, London, La Zia Principessa in Suor Angelica for Opera Holland Park and Seattle Opera, Madame de Croissy in Dialogues des Carmélites at the Dutch National Opera and the Théâtre des Champs-Élysées, Herodias in Salome for Portland Opera, Ulrica in Un ballo in maschera for the Dorset Opera Festival and Mary in Der fliegende Holländer at Teatro Alla Scala, The Baroness in Vanessa for Wexford Festival Opera, Contessa di Coigny in Andrea Chénier at the Bayrerische Staatsoper, Mila’s Mother in Osud and Mamma Lucia in Cavalleria Rusticana for Opera North, Kabanicha in Katya Kabanova at the Staatsoper Berlin, Klytämnestra in Elektra at the National Theatre, Prague, and The Countess in The Queen of Spades for Opera Holland Park.

In 2007, Ms. Plowright was granted the order of Officer of the British Empire (OBE) for her services to music.

QAM proudly represents Ms. Plowright in North America.

French mezzo-soprano Julie Robard-Gendre garnered accolades from public and press alike with her appearances last season as Nefertiti in Akhnaten at Opera de Nice, Sesto in La Clemenza di Tito at Opera de Nantes/Angers and at Opera de Rennes, and her role debut as Komponist in Ariadne auf Naxos at Opera de Limoges. ForumOpera.com‘s Yvan Beuvard reported: “Of particular note in the excellent cast was Julie Robard-Gendre’s Sesto. She brings out the complexity, fragility, doubts and heartbreak, as well as the nobility and generosity of this sensitive soul, blinded by his love for Vitellia. Her dark and rich mezzo, exactly right for the role, is admirably deployed. Sesto’s psychological development is well portrayed, both musically and dramatically. The intensity of emotion, particularly in Act II (“Deh per questo istante solo”) made her Sesto steal the show, as evidenced by the warmth of the audience’s applause for her.”

Other recent and future engagements include Rigoletto with the Cercle de l’Harmonie at the Festival Berlioz in La Côte Saint-André and in Bremen, Falstaff (Meg Page) in Lille, Luxembourg and Caen, La Tragédie de Carmen at the Theatre des Champs-Élysées in Paris and on tour with the ensemble Miroirs étendus, Carmen (title role) at the Opéra Royal de Wallonie, a French version of Salomé (Hérodias) in Metz, La Mort de Cléopatre in concert at the Angers-Nantes Opera, and Ariane (Perséphone) by Massenet in Munich, which will be recorded under the Palazzetto Bru Zane label.

In recent seasons, Julie appeared as Gertrude in Hamlet in a new production with Opera de Nantes/Angers and Opera de Rennes. At Lausanne Opera she sang the title role in La Belle Hélène, a role she previously performed at Opera de Rennes, Opera de Vichy and in Avignon, and a new production of Don Quichotte as Dulcinée at Opera de Tours. 

Additional career highlights include Robard-Gendre’s Paris Opera debut as Dame d’honneur/Bohémienne in Les Huguenots and a reprise of Zweite Dame in Robert Carsen’s production of Die Zauberflöte. She made her debut in the title role of Carmen at Opera de Rennes and was highly acclaimed by critics and public alike as Ghita in Der Zwerg at Opera de Lille, Opera de Rennes and Opera de Caen. Of her Lille performance, Stephen J. Mudge wrote in Opera News: “The best singing of the evening on November 18 came from Julie Robard-Gendre as Ghita, principal lady-in-waiting. With sure, penetrating mezzo timbre, Robard-Gendre appealed for the humiliation of the dwarf to stop. Her final confrontation with Vidal’s broken man was the most moving moment of the evening…”

Prior roles for the artist include: Orphée in Orphée et Eurydice at Avignon, Liège and Opera de Nantes/Angers, where she also revived the role of Prince Charming in Cendrillon; Olga in Eugene Onegin in Nice, Metz and Reims; Fenena in Nabucco in Toulon and Nice, and a debut at Opéra de Monte Carlo as the Kitchen Boy in Rusalka. She also enjoyed a debut at Festival Aix-en-Provence in the role of Ramiro in La finta giardiniera, which was broadcast live via ARTE.

On the concert stage, Julie has sung the alto solo in Beethoven’s Mass with Insula Orchestra, Les nuits d’étéwith Orleans Symphonic Orchestra, El amor brujo with L’Orchestre National de Bretagne and Le Poème de l’amour et de la mer and Il tramonto with L’orchestre Régional de Normandie. In contemporary repertoire, she has collaborated with composers such as Michaël Levinas, who entrusted her with the role of La Huppe in La Conférence des Oiseauxat La Biennale di Venezia, and Les Aragon, which she sang with Ensemble L’Itinéraire and the Philharmonic of Luxembourg. With France’s Arcal Lyrique, she participated in the creation of Ni l’un ni l’autre with the composer and inaugurated the role of Maria Smith in Régis Campo’s Les Quatres Jumelles.

Tenor Nathan Granner has enjoyed a unique and diverse performing career which has allowed him to leverage his distinctive timbre and impressive range in a multitude of projects and productions.

Granner’s early studies included training with Utah Festival Opera, Glimmerglass Opera, Wolf Trap Opera, Tulsa Opera, and Pittsburgh Opera Center. Granner was also a semifinalist at the Metropolitan Opera National Council Auditions in New York City. During one whirlwind period which showcased his varied interests and versatility, Nathan was singing on the stage of the Met, played his first rock performance in a popular Orlando bar, and was signed to a recording contract by Sony Classical. Between it all, he sang Camille in The Merry Widow at Light Opera Oklahoma and Beppe in I Pagliacci with Opera Tampa under the baton of Anton Coppola.

Other early career engagements for Mr. Granner included Nemorino at Lyric Opera Kansas City and Remus at Opera Theater Saint Louis. He also sang with the National Symphony Orchestra, Baltimore Symphony Orchestra, Irish Radio Orchestra, the Handel/Haydn Society, and Kansas City Symphony performing the tenor parts in the Verdi Requiem, Beethoven’s 9th Symphony, Mozart’s Requiem, Elijah, Carmina Burana, Handel’s Messiah and a number of Bach Cantatas (collaborating regularly with the Bach Aria Soloists).

In the early 2000s, Nathan was a founding member of The American Tenors, whose Sony Masterworks Classical album reached top five in the classical crossover charts. He has also toured extensively with classical guitarist Beau Bledsoe, singing new arrangements of lieder and chanson, authentic Flamenco, Tango, Turkish music and new compositions.

Granner’s unique versatility and easy command of varying styles of compositions has lead to engagements creating numerous new opera roles for an extensive range of works including Kanye West in Fair Looks and True Obedience, to Aubrey Wells in Today it Rains and the Pulitzer prize-winning Korey Wise in The Central Park Five.

Most recently, Mr. Granner has achieved critical success in a challenging and unique mix of roles and works including a debut of Verdi’s Alfredo with both Fort Worth Opera and Opera Santa Barbara, an on-film and studio soundtrack recording of the title role in Gordon Getty’s Goodbye, Mr. Chips, and Rob Hall in the award-winning animated film Everest, produced by Opera Parallèle and presented by The Dallas Opera.

New roles for the upcoming season will include Don Ottavio, Don José, Cavaradossi, and Bill Watson in Paul Moravec’s The Shining.

Mr. Granner is fiercely devoted to various philanthropic efforts, and has performed at dozens of charitable fundraisers with David Foster and Friends. In the process, he has helped to raise tens of millions of dollars to fund the researching of cures for Parkinson’s disease and cancer, and for aid in the areas of children’s health, wildlife conservation and substance abuse.

Nathan is also an avid karaoke devotee and a certified Bohemian.

GRAMMY winner and Author Jay Hunter Morris first stepped into the national spotlight when he created the role of Tony in Terrence McNally’s Tony Award-winning play Master Class on Broadway in 1995. And then, as documented in Susan Froemke’s Wagner’s Dream, he made shockwaves throughout the opera world in 2011 after stepping in at the eleventh hour to sing the title role in Siegfried at The Metropolitan Opera as part of their new production of Wagner’s Ring Cycle, directed by Robert Lepage. That production was broadcast live to cinemas worldwide and earned a GRAMMY award for Best Opera Recording.

Firmly established as one of the world’s leading heldentenors, Jay went on to sing Siegfried in Budapest at the Wagner Days Festival, and again with Houston Grand Opera and San Francisco Opera(with Sir Donald Runnicles conducting). Ensuing successes included his first Tristan in Valencia (under the baton of Zubin Mehta), and Schoenberg’s Guerre-Lieder at the Vienna Konzerthaus with Kent Nagano. His portrayal of Teague in Higdon’s Cold Mountain has also earned him an additional two GRAMMY nominations, and he has created roles in eight world premiere operas.

Other notable roles and appearances for Mr. Morris have included a PBS Great Performances broadcast of Ahab in Moby Dick (a role that he also repeated with both Dallas Opera and LA Opera); performances of John Adams’ The Gospel According to the Other Mary with the San Francisco Symphony, St. Louis Symphony (at Carnegie Hall), and in Rome with the composer conducting; Mahler’s Das Lied von der Erde with the Taiwan Philharmonic; Tristan under the direction of Mariusz Treliński in Beijing; Erik in Der fliegende Holländer with the Dallas Opera, Cincinnati Opera and Atlanta Opera, and Aegisth in Elektra with The Metropolitan Opera. Most recently, he was seen as Macheath in Atlanta Opera’s production of The Threepenny Opera (2021) and a role that has become his calling card—Herod in Strauss’ Salome—at Bard Conservatory’s Fisher Center (2022) and with Tulsa Opera (2022).

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).

Hailed as a “gifted and fiercely committed baritone whose voice is spacious and reverberant,” (Opera News) Robert Wesley Mason (he/they) has established themselves as one of today’s most versatile performers, employing “his mighty baritone to stunning effect, using interpretive phrasing and nuanced delivery” (Albany Times Union). 

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 Doubt with 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 Carmen with 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 Extravaganza with 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 Way as Dax/Larry with Naxos and Before Night Falls as 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.

Hailed by Opera News as an “excellent and exciting bass-baritone,” Peter Morgan has quickly developed a reputation as a dynamic performer at a number of companies nationally and internationally. Known for his versatility–in addition to the classic operatic canon–Mr. Morgan has made a name for himself as an interpreter of new music with several regional and world premieres to his name,  including Jason and the Argonauts by Gregory Spears with the Lyric Opera of Chicago, Songbird by James Lowe and Kelly Rourke with The Glimmerglass Festival, the recent landmark production of John Corigliano’s The Ghosts of Versailles with L’Opéra Royal de Versailles (which is available to stream now on Medici TV), and the world premiere film of The Copper Queen by Clint Borzoni and John de los Santos with Arizona Opera,which was nominated for Best Digital Opera in the International Opera Awards. 

2022 -2023 season highlights include a return to Arizona Opera in the fall to sing Truffaldino in their production of Ariadne auf Naxos, Max Detweiler in The Sound of Music, and the Speaker in The Magic Flute. Mr. Morgan will also perform the role of Monterone in Intermountain Opera Bozeman‘s production of Rigoletto.

During the 2021-2022 season, Mr. Morgan made his house debut with Opera San José singing Moralès and covering Escamillo in Carmen. He also returned to Opera Carolina to sing the role of The Colonel in Zach Redler’s powerful opera, The Falling and the Rising. In the spring of 2022, Morgan returned to Lyric Opera of Kansas City to sing Angelotti and cover Scarpia in Tosca, and that summer he also returned to The Glimmerglass Festival to sing Zuniga in Carmen and Max Detweiler in The Sound of Music for Francesca Zambello’s final season as General Director.

In recent seasons, Mr. Morgan made his house debut with Arizona Opera, originating the role of Sugar Dog in their filmed world premiere of The Copper Queen by Clint Borzoni and John de los Santos (which went on to become an official selection in the Arizona Film Festival). Mr. Morgan also returned to The Glimmerglass Festival singing the role of Ferrando in Il Trovatore and Don Pedro in Songbird, a world premiere reimagining of Offenbach’s La Perichole set in 1920’s New Orleans with Jazz orchestration by Jim Lowe and libretto by Kelly Rourke. In the fall of 2021, Mr. Morgan made his debut with Lyric Opera of Kansas City singing King Balthazar in Amahl and the Night Visitors.

Morgan also made his house debut in 2020 with Opera Carolina, singing Colline in La bohéme, and then reprised the same role with Toledo Opera. He also sang Publio in The Shepherd School of Music’s production of La clemenza di Tito (which was cut short due to COVID-19). Mr. Morgan was then to perform Timur in Turandot with Opera Grand Rapids before returning to The Glimmerglass Festival to cover Leporello in Don Giovanni, as well as Gernot in their production of Wagner’s Die Feen–all of which were either canceled or postponed due to the continuing pandemic. 

Mr. Morgan is a recent graduate of the prestigious Shepherd School of Music at Rice University, where he was the Artist Diploma in Opera Studies Fellow, and was also awarded the coveted Brockman Scholarship for Opera.

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).