Moses

Ryan Wolfe is a passionate musician fueled by his love for collaboration and performance, who has been commended for his “commanding presence” and “well-tutored, polished baritone.” 

His 2022/23 season began with Mahler’s Kindertotenlieder with the Richmond Symphony followed by Beethoven’s Symphony No. 9 with the Los Angeles Chamber Orchestra. He made his LA Opera debut as the Jailer in Tosca, with future credits including the Herald in Otello, Tarquinius in The Rape of Lucretia conducted by Lina Gonzalez Granados, and the title character in Henry Mollicone’s Moses conducted by James Conlon. Additionally, he is the cover for the roles of Johnson/Owen in Omar, the Count in The Marriage of Figaro, and Golaud in Pelléas et Mélisande. He debuts with the Los Angeles Philharmonic as the Steersman in Wagner’s Tristan und Isolde conducted by Gustavo Dudamel.

In the summer of 2022, he returned to the Apprentice Artist Program at Des Moines Metro Opera to cover Peter Quince in A Midsummer Night’s Dream. The 2021/22 season saw him make several role debuts including Ithe Count in The Marriage of Figaro and Cardinal 3/Priest/Father in Phillip Glass’s Galileo Galilei at the University of Cincinnati – College Conservatory of Music (CCM). In March of 2022, Ryan covered the role of Papageno in Barry Kosky’s internationally acclaimed production of The Magic Flute with Des Moines Metro Opera. Most recently, Ryan appeared as the baritone soloist in Carmina Burana with the Santa Cruz Symphony, conducted by Daniel Stewart.  

He won an Encouragement Award in the Central Region Finals of the Eric and Dominque Laffont Competition in 2021, won first prize in the 2022 University of Cincinnati – CCM Corbett Opera Scholarship Competition and is a two-time semi-finalist (2021, 2022) of the Lotte Lenya Competition. He has also won awards from Classical Singer National Voice Competition and the Grand Junction Symphony Orchestra Young Artist Competition.  

In the summer of 2021, he joined the Des Moines Metro Opera Company as an Apprentice Artist where he performed Sen. Potter’s Assistant/Bookseller/Priest/Technician/Party Guest in Gregory Spears’ Fellow Travelers and Narumov in The Queen of Spades and covered Cithéron in Rameau’s Platée. He was also featured as Pandolfe in Cendrillon and the title role in Don Giovanni in the festival’s scenes program. He made his professional debut in February 2020 with the Cincinnati Symphony Orchestra as the Armchair and Tree in Ravel’s L’enfant et les sortilèges under the baton of Louis Langrée and direction of James Bonas. A strong proponent of new music and a consummate musician, he collaborated with Opera Fusion:New Works - Cincinnati Opera to workshop Matthew Aucoin’s Eurydice (co-commissioned by LA Opera and the Metropolitan Opera).  

Other operatic highlights include Belcore in L’elisir d’amore, Baron Mirko Zeta in The Merry Widow, Giove in La Calisto, Kecal in The Bartered Bride, Simone in Gianni Schicchi, and Seneca in The Coronation of Poppea. He has also been seen performing selections of Bernstein and Mahler with the CCM Philharmonic, and was the bass soloist in Vaughan Williams’ Serenade to Music with the DePaul University Symphony Orchestra. 

Ryan completed his master’s degree before partially completing an artist diploma at the University of Cincinnati – CCM where he studied with esteemed baritone William McGraw. Upon Professor McGraw’s retirement, Ryan began studying with world-renowned baritone Elliot Madore. He is a proud alumnus of DePaul University where he received his bachelor of music, studying with Jeff Ray. 

In 2022, Madeleine Lyon finished her graduate studies at Rice University, Shepherd School of Music, where she previously obtained her Bachelor of music degree in 2019. In the 2021/22 season, she was seen as Zerlina in Don Giovanni for the grand opening of the Brockman Hall for Opera at Rice University. In 2020, she performed the title role in Ravel’s L’enfant et les sortilèges in a filmed production, part of the Shepherd School’s initiative to provide opera to the public during the pandemic, spearheaded by Miah Im. In her Rice University debut, she made her foray into new music as Taller Zegner in Missy Mazzoli’s Proving Up. She is also passionate about oratorio and concert work, and has been the mezzo-soprano soloist in the Mozart Requiem, Handel’s Messiah, Bach’s St. Matthew Passion, and selections from the Verdi Requiem. During her free time, she is also a skilled pianist and painter.

Mexican-American mezzo-soprano Sarah Saturnino is quickly becoming known for her versatility and “range of vocal colors” (Miami Herald). Her appearances for the 2022/23 season include Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra, appearances with LA Opera as Lucretia in The Rape of Lucretia and Emilia in Otello, and a Callas centenary concert with Dayton Opera.

Recent roles include: Marcellina in The Marriage of Figaro and Carmen in The Tragedy of Carmen with Shreveport Opera, Vera Boronel in The Consul with Baltimore Concert Opera, Maddalena in Rigoletto with Opera San Antonio and Painted Sky Opera, and the Mother in Hansel and Gretel and Dorabella in Cosi fan tutte with Yale Opera. 

She recently completed her second season with the Shreveport Opera Company's Resident Artist program. In 2020 she performed in Art After Dark where she sang Maria in Feel the Tango, Angie in Pepito, and Julia Child in Bon Appétit. She also sang in their 2021 recorded production of Rigoletto as Maddalena and Giovanna.
 
In 2022, she returned to Santa Fe Opera as an Apprentice Artist, covering Meg Page in Falstaff. During the 2021 summer season with Santa Fe Opera, she covered the roles of Marcellina in The Marriage of Figaro and Hippolyta in A Midsummer Night’s Dream. She is an alumna of the Chautauqua Opera Company’s Young Artist program. She has performed with the Miami Summer Music Festival as Le Prince Charmant in Massenet’s Cendrillon and was a soloist in Handel's Messiah with the Wintergreen Performing Arts Festival, as well as multiple concerts in Tuscany, Italy, with Bel Canto in Tuscany. 
 
She received the Campbell/Wachter Scholarship Award from the Santa Fe Opera for the 2021 season. She received the Faculty Award from the Vann Vocal Institute in 2020. She was a first place winner of the Pacific NorthWest Competition in Eugene, Oregon in 2019. She has placed in the top ten in the Brava! Competition two years (2018, 2019) in a row and was a Grand Finalist in the Talents of the World Competition in 2018. 
 
She has performed in many concert works including Beethoven's Symphony No. 9 and Handel’s Let God Arise, O Sing unto the Lord, and Messiah. She has also sung in recitals for the Trinity on Wall Street, Pipes at One and the Chautauqua Opera Company’s Emerging Artists Recital. She has also performed the Old Lady in Candide with the Eastern Connecticut Symphony Orchestra.    
 
She graduated cum laude from the University of California, Los Angeles, with a bachelor of arts in vocal performance and a minor in music industry in 2016. Roles at UCLA include: Jenny in Down in the Valley, the Shepherd in L’enfant et les sortilèges, Dorabella in Cosi fan tutte, the Old Lady in Candide, and Le Prince Charmant in Cendrillon. She graduated with honors from the Yale University School of Music with a master's of music in 2018. Roles at Yale included: Second Lady in The Magic Flute, the Composer in Ariadne auf Naxos, Bertarido in Rodelinda, and Sister Helen Prejean in Dead Man Walking. She continued to work and study at the Potomac Vocal Institute where she studied under the world-renowned Elizabeth Bishop and Arianna Zuckerman in the inaugural class of the Professional Development Program. Roles in that program included Giovanna Seymour in Anna Bolena, Octavian in Der Rosenkavalier, Quickly in Falstaff and Charlotte in A Weekend in the Country.
 
Miss Saturnino is a choreographer, fight director and intimacy director. Her work includes Feel the Tango, Speed Dating, and The Marriage of Figaro for Shreveport Opera. She works with Sordelet, Inc., as a fight and intimacy director. She is also trained in fencing.  

She began the 2022/23 season covering the role of Elisabeth de Valois in Don Carlos at Lyric Opera of Chicago. In the summer of 2023, she will perform the role of Lady Clarence in Camille Saint-Saëns' rarely performed Henry VIII at Bard SummerScape.

Engagements for the 2021/22 season include the leading role of Giorgetta in Il Tabarro with Opera Santa Barbara. In the summer of 2021, she was an Apprentice Artist with Santa Fe Opera, where she performed the role of a Bridesmaid in The Marriage of Figaro. She was recently seen as the First Maiden in Mörder, Hoffnung der Frauen with the LA Philharmonic. 

Some previous credits include Camelot with the Lincoln Center Theater, Kathleen Battle’s Underground Railroad recital, the First Lady in The Magic Flute, Lady Macbeth in Bloch's Macbeth, the Female Chorus in The Rape of Lucretia, and the title role of Penelope. She was a featured artist in Lee Mingwei’s exhibit Sonic Blossom with MetLiveArts.

Ms. Fox has been honored with several awards including grand finalist in the Metropolitan Opera National Council Auditions, first place winner of the Joan Taub Ades Vocal competition, semi-finalist in the Elizabeth Connell dramatic soprano competition, and the Lotte Lenya emerging artist award.

An alumna of the Chautauqua Opera and Opera Saratoga young artist programs, Ms. Fox holds Bachelor and Master degrees from the Manhattan School of Music.

Learn more at AlayshaFox.com.

The American-born Cuban and Colombian tenor Anthony León is a young up-and-comer who is quickly developing an international performing career. On October 30, 2022, he was the first place winner of Operalia, where he also won the zarzuela prize. For the 2022/23 season, his appearances include Normanno in Lucia di Lammermoor and Spoletta in Tosca with LA Opera, where he is a member of the Domingo-Colburn-Stein Young Artist Program, and Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra.

His most recent engagements include singing Remendado in Carmen at Santa Fe Opera, Ernesto in Don Pasquale at New England Conservatory and being on tour performing the roles of Giove and Amphinome in Monteverdi’s Il ritorno d’Ulisse in patria with the ensemble I Gemelli. On tour, Anthony performed at Théâtre des Champs-Elysées in Paris, France; Arsenal Theater in Metz, France; and Victoria Hall in Geneva, Switzerland. A recorded album is in the works and is set to be released in 2023. In the fall of 2021, Anthony also presented the role of Count Almaviva in the Opera Theatre of St. Louis production of The Barber of Seville. During the summer of 2021, Anthony was an Apprentice Artist at Santa Fe Opera covering the role of Lysander in A Midsummer Night’s Dream. In addition to these contracts, Anthony has performed in other leading roles recently such as Le Chevalier in Dialogue des Carmélites, Agenore in Mozart's Il re pastore, Nemorino in L’elisir d’amore, Tamino in The Magic Flute, the Witch in Hansel and Gretel, and Frederic in The Pirates of Penzance.

Most recent honors include winning the Metropolitan Opera Laffont Competition in the Los Angeles District in 2022 and receiving a Career Development Grant from the Sullivan Foundation. Other accolades include being named “Best up-and-comer” in the Inland Empire Magazine’s “Best of the Best 2019” list and being awarded the Wendy Shattuck ‘75 Presidential Scholarship for Vocal Studies among other prestigious awards.

Anthony holds a bachelor of music from La Sierra University and a master of music degree concentrating in vocal performance from the New England Conservatory of Music in Boston, studying under the tutelage of Bradley Williams.

Learn more at AnthonyLeonTenor.com.

In the 2022/23 season, in addition to her LA Opera appearances, Tiffany Townsend performed Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra. Other engagements of the season include the role of Idleness in the world premiere of Kate Soper's The Romance of the Rose with Long Beach Opera, the Verdi Requiem with the Bakersfield Symphony, Fauré’s Requiem and George Walker's Lilacs with the New Jersey Symphony.

In the summer of 2023, she will reprise Lilacs with the National Orchestral Institute + Festival at Wolf Trap, as well as perform the role of Donna Elvira in Don Giovanni with Wolf Trap Opera.

She recently returned to Opera Philadelphia as the featured soloist in George Walker's Lilacs and she also performed Strauss's Four Last Songs with the Artosphere Festival Orchestra. In the summer of 2022, she was a Filene Artist with Wolf Trap Opera.

In the spring of 2021, she performed the role of Katherine in Douglas Pew's Penny with Opera Grand Rapids. 

She started the 2019/20 season as Princess Ninette in Prokofiev’s The Love for Three Oranges with Opera Philadelphia. In February 2020, she appeared with Long Beach Opera in the Dream Variation concert.

In 2019, she performed Brenda in Rene Orth’s Empty the House, a co-production with the Curtis Opera Theatre and Opera Philadelphia. 

At Millsaps, she was seen as Lucy Lockit in Benjamin Britten's The Beggar's Opera and performed Fiordiligi in Cosí fan tutte in scenes. At Juilliard she covered the role of the Countess in The Marriage of Figaro. She also performed George Crumb’s Winds of Destiny at Alice Tully Hall with the Juilliard Percussion Ensemble. At the Chautauqua Institution, Ms. Townsend performed the First Lady in The Magic Flute.

At Curtis she performed lead roles such as the Female Chorus in The Rape of Lucretia, Tatyana in Eugene Onegin, and Donna Anna in Don Giovanni. She was a winner of the 2019 New Orleans District of the Metropolitan Opera National Council Auditions. She then received an Encouragement Award in the 2019 Gulf Coast Regionals.

She holds a Professional Studies Certificate in Opera from the Curtis Institute of Music, a Master of Music from the Juilliard School, and a Bachelor of Arts in Music from Millsaps College. 

Photo: Daniel Welch

Alan Williams recently received his specialist and master's degrees in voice performance from the University of Michigan under the tutelage of Daniel Washington. He received his undergraduate degree in 2018 from Northern Arizona University, where he studied with Dr. Judith Cloud. 

He has performed a number of major roles with various festivals and universities including John P. Parker in Adolphus Hailstork’s Rise for Freedom: The John P. Parker Story, Rev. Olin Blitch in Carlisle Floyd’s Susannah and the title role in Donizetti’s Don Pasquale. He has also performed in various concerts with Detroit Opera, recently in Detroit Players Club Opera Event. In the fall of 2021, Alan was invited to sing for Jean Snyder's presentation on the works of Harry T. Burleigh at the Oxford Lieder Festival in Oxford, England. He has also had the honor of singing with Dr. Eugene Rogers' professional chamber choir Exigence since 2020. 

He has received notable awards, recently earning an encouragement award at the Arizona District Laffont Competition. In 2021, he was named the winner of the Graduate Concerto Competition at the University of Michigan. Also during his M.M. studies at Michigan, he was selected as a national finalist in the 2019 National Association of Negro Musicians convention. In his undergraduate studies at Northern Arizona University, he was selected as a finalist for two consecutive years in the Rocky Mountain District for MONC auditions. 

In the summer of 2022, he will join the Frank R. Brownell III Apprentice Program at Des Moines Metro Opera, where he will sing the role of Theseus in A Midsummer Night’s Dream and cover the role of the Lawyer in Porgy and Bess. 

Since his debut that year with La Traviata, he has conducted 66 different operas and more than 435 performances to date with the company. Highlights of recent seasons include the 2020 company premiere of The Anonymous Lover (L'Amant Anonyme) by Joseph Bologne, Chevalier de Saint-Georges, the 2021 company premiere of Stravinsky's Oedipus Rex, and the 2022 company premiere of Bach's St. Matthew Passion.

(Click here to visit James Conlon's Corner, where you can find essays, videos and conversations he has created especially for LA Opera.)

One of today’s most versatile and respected conductors, James Conlon has cultivated a vast symphonic, operatic and choral repertoire. He has conducted virtually every major American and European symphony orchestra since his debut with the New York Philharmonic in 1974. He has conducted more than 270 performances at the Metropolitan Opera. Through worldwide touring, an extensive discography and videography, numerous essays and commentaries, frequent television appearances and guest speaking engagements, Mr. Conlon is one of classical music’s most recognized interpreters.

In September 2021, he became Artistic Advisor of the Baltimore Symphony Orchestra.

He has been Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy (2016–20); Principal Conductor of the Paris Opera (1995–2004); General Music Director of the City of Cologne, Germany (1989–2003), simultaneously leading the Gürzenich Orchestra and the Cologne Opera; and Music Director of the Rotterdam Philharmonic Orchestra (1983–91).

Mr. Conlon has served as the Music Director of the Ravinia Festival, summer home of the Chicago Symphony (2005–15), and is now Music Director Laureate of the Cincinnati May Festival―the oldest choral festival in the United States―where he was Music Director for 37 years (1979–2016), marking one of the longest tenures of any director of an American classical music institution. As a guest conductor at the Metropolitan Opera, he has led more than 270 performances since his 1976 debut. He has also conducted at leading opera houses and festivals including the Vienna State Opera, Salzburg Festival, La Scala, Teatro dell’Opera di Roma, Mariinsky Theatre, Covent Garden, Chicago Lyric Opera, Teatro Comunale di Bologna, and Teatro del Maggio Musicale Fiorentino.

As LA Opera's Music Director since 2006, Mr. Conlon has led more performances than any other conductor in the company’s history—to date, over 420 performances of more than 60 different operas by over 20 composers. Highlights of his LA Opera tenure include conducting the company’s first Ring cycle, recently re-aired in a marathon webcast celebrating the performances’ tenth anniversary; initiating the groundbreaking Recovered Voices series, an ongoing commitment to staging masterpieces of 20^th-century European opera that were suppressed by the Third Reich; and spearheading Britten 100/LA, a city-wide celebration honoring the centennial of that composer’s birth. During the period in which Dorothy Chandler Pavilion was closed due to the pandemic, Mr. Conlon conducted LA Opera’s live-streamed, socially distanced production—staged at the Colburn School—of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges, a prominent Black composer in 18^th-century France. The performance was presented as an online-only event in fall 2020 and marked the work’s West Coast premiere. The Pavilion reopened in June 2021 with Mr. Conlon conducting the company premiere of Stravinsky’s Oedipus Rex, with which LA Opera became the first major American opera company to perform live in its own theater since the coronavirus outbreak. The performance was subsequently released online for at-home viewing. During LA Opera’s 2021/22 season, Mr. Conlon conducts three operas long absent from the company’s repertory: Verdi’s Il Trovatore, which opens the season; Wagner’s Tannhäuser; and Verdi’s Aida. He also conducts John Neumeier’s ballet adaptation of Bach’s St. Matthew Passion, performed at LA Opera for the first time.

Born in Bombay and raised in Kenya and the United States, Shishir Kurup is a longtime member of the nationally renowned Cornerstone Theater Company. For Cornerstone’s Hunger Cycle he acted in Café Vida by Lisa Loomer, directed Seed: A Weird Act of Faith by Sigrid Gilmer, directed Love on San Pedro by James McManus and wrote Bliss Point. In the years before the Hunger Cycle he directed Michael John Garces’ Los Illegals, wrote and directed On Caring for the Beast, was the lyricist for Cornerstone’s Making Paradise: The West Hollywood Musical and directed Lynn Manning’s The Unrequited in the community of Watts, Los Angeles. He has written over 250 songs for various Cornerstone productions. He directed Quiara Hudes’ The Happiest Song Plays Last and Water by the Spoonful at Oregon Shakespeare Festival. He has directed and acted at regional theaters around the country.

Learn more at ShishirKurup.com.

Henry Mollicone (1946-2022) was a composer, conductor and educator. He was best known for his popular opera The Face on the Barroom Floor and for his philanthropic compositions that raised funds in the hundreds of thousands for the homeless.

He graduated from New England Conservatory with an M.M. and soon after was engaged as an assistant conductor with the New York City Opera and as assistant dance orchestrator to Leonard Bernstein for the Broadway musical 1600 Pennsylvania Avenue. He composed music for film and television, conducted numerous operas and musicals (including as music director of the San Jose Civic Light Opera) and orchestras (including Silicon Valley Symphony and his own Winchester Orchestra).

He composed several operas and numerous choral works, solo and instrumental works, piano pieces and songs. He taught at Santa Clara University as composer-in-residence and conducted the university orchestra.

Eli Villanueva, a talented and passionate musician, director and educator, brings his magic to every project on which he works. His uniquely energetic and joyful approach draws out consistently remarkable performances from community members and students new to performing, as well as from seasoned professionals. In his 20th season as Resident Stage Director and teaching artist for LA Opera Connects, Eli teaches and directs as many as 2,000 students annually in original productions including, the acclaimed In-School Operas, Opera Camp, and the Community Opera at the Cathedral conducted by Music Director James Conlon.

Mr. Villanueva’s compositions are praised for their appeal to audiences and performers alike. His commissioned works of One-Act operas include Then I Stood Up which premiered in 2017, The White Bird of Poston, Friedl and The Festival Play of Daniel, an adaptation of the 13th-century liturgical play, Play of Daniel. In addition, music ranging from solo to choral works can be found through publishing companies, Fred Bock Music, Laurendale Associates, and Cherry Lane Music.

Opera Camp
Secondary In-School Opera
Elementary In-School Opera
Opera Tales

Natalie Iscovich is thrilled to be working with LA Opera. She was the choreographer for Las Tres Mujeres de Jerusalén in 2022, and looks forward to joining with the community again with the 2023 production of Moses at the Cathedral. Natalie is a Los Angeles-based professional theatrical performer, dancer, choreographer and teacher. She received her BFA in dance performance and choreography from Chapman University. She has partnered with LA Opera Connects since 2021, during the midst of social distancing and masking, aiming to bring three operas, in dance form, to LAUSD elementary and high school students. In the summer of 2022, she choreographed the world premiere of the new musical Witnesses with CCAE Theatricals in San Diego, and has recently been awarded for her work with the production. As a performer she has been a part of various live productions, as well as film and television.

Credits include the national tour of Rudolph the Red Nosed Reindeer (associate choreographer), Macbeth with LA Opera, Aida with the Pacific Symphony. Television: The Thundermans (Nick). Film: The Sound the Soul Makes. Regional: Cabaret (MCRE), Mamma Mia! (associate choreographer), West Side Story (MCRE), Dirty Rotten Scoundrels (MTW), The Full Monty, Beauty and the Beast, The Addams Family, Tarzan, Side Show, Seussical: the Musical (3DT), In the Heights, Kiss Me, Kate and Bye Bye Birdie (CMT).

She is passionate about education and creating environments for dancers and people to become the best version of themselves. She is a certified yoga and pilates instructor and has learned the importance of injury management and supporting artists with their physical and mental well being. She is honored to work at The Artist Collective LA, where she engages with young aspiring professionals to hone their artistry.

Charlie Kim is a versatile performer with several musical identities—pianist, tenor, conductor, educator, and community arts leader. He can be seen as pianist and music director for LA Opera in educational and community outreach efforts. Most recently, Charlie was a featured soloist on the Walt Disney Concert Hall Stage with the Los Angeles Master Chorale for the United We Sing concert, the world premiere of Ready, Bright by Derrick Spiva, as well as being featured as a song leader for community events like Big Sing in Grand Park. Other recent vocal appearances include Lagrime di San Pietro (Los Angeles Master Chorale world tour), Nanki-Poo in The Mikado (Pacific Opera Project), and Ojiichan/Mojave Boy in The White Bird of Poston (Los Angeles Opera Connects). Charlie will make an appearance in the summer of 2023 as guest music director and pianist for the Newport Classical Festival in Rhode Island.

Charlie is member of SAG-AFTRA, with credits as a performer onscreen, in the recording studio, and as a coach for onscreen talent. He can be heard on the soundtrack to Star Wars: Rise of the Skywalker, the 2021 Grammy-winning Complete Symphonies of Charles Ives with the Los Angeles Philharmonic, and The Sacred Veil by Eric Whitacre with Sony Records. Has has appeared on screen with Cardi B and Weird Al Yankovich and has served as talent coach with names like JK Simmons for Amazon Studios. His commercial work is currently receiving national circulation. As a community arts leader, Charlie is the conductor and artistic director for the San Fernando Valley Master Chorale. He seeks to create more opportunities for high-quality classical music by partnering with other local performance organizations and forging supportive relationships with the City of Los Angeles. Charlie currently serves as the Director of Choirs and Orchestra at the Brentwood School in Los Angeles.

Alan E. Muraoka has worked in the entertainment industry as a production designer and art director for film and television, as well as a theatrical set designer for Ned Rorem's Our Town and Jake Hagee's Dead Man Walking for Central City Opera, Ricky Ian Gordon's Orpheus and Eurydice for Long Beach Opera, Tobias Picker's Thérèse Raquin, Philip Glass's Fall of the House of Usher and the world premiere of Stewart Copeland's The Invention of Morel at Chicago Opera Theater. Recent projects include John Corigliano's The Ghost of Versailles in a season that included the “Beaumarchais Trilogy”; Il Barbiere di Siviglia and Figaro 90210 for Chautauqua Institute. Alan also works as a production designer in film and television and is currently designing the television series New Amsterdam for NBC/Universal. Alan is a member of both the Academy of Motion Picture Arts and Sciences and the Academy of Television Arts and Sciences.

Learn more at AlanMuraoka.com.

Alexa Behm, the costume designer of Moses (2023), is excited join the LA Opera Connects team in this wonderful community engagement project. She designs costumes for characters spanning multiple genres of entertainment. For the last few years, Alexa has been freelancing as a Local 705 costumer for episodic television. Her most recent credits include Fatal Attraction (Paramount+), The Offer (Paramount+), and American Horror Stories (Hulu). Her most recent theater credits include La Boéhme, Spring Awakening, Anything Goes and Candide. Alexa is a proud alumnus of UCLA, holding her MFA in design for theater, film, and digital media. She would like to thank the LA Opera team for welcoming her to this collaboration.

Learn more at ABehmDesign.com.

Azra King-Abadi is a theater designer specializing in lighting and costume design. She is currently based in Los Angeles, after moving here from Montreal.

She trained at Concordia University and received her BFA in Fine Arts, Specialization in Theatre Design. Later she attended Cal State Long Beach where she received her MFA in Lighting Design. After graduation, she began working as a freelance designer in the Los Angeles area and took over the position of Assistant Lighting Designer for LA Opera. She is a member of United Scenic Artists, union local 829. She has worked at several prestigious companies such as the LA Opera, Opera Santa Barbara, Los Angeles Master Chorale, Long Beach Opera, Los Angeles Philharmonic and Central City Opera, as well as many prestigious educational programs and theatre companies in California. Before moving to Los Angeles she mainly designed costumes in her hometown of Montreal. She designed for exciting young companies such as Tableau D’Hote and Gravy Bath Productions.

Azra found herself drawn to theater, as an environment for collaboration and the ability to mix so many different media.

Her design approach focuses on the emotional truth of the moment is order to tell the story in an effective way and bring the audience along on the journey. She enjoys the expressionistic style and tries to represent a character’s internal psychology on the stage. She has been able to do this in a variety of ways since she has worked in varying theaters with a wide range of capacities and/or budgets. She is always excited by the prospect of creating new and exciting work, and participating in the collaborative process.

Learn more at AzraKingAbadi.com.