Falstaff

From: Claremont, California. LA Opera: Guccio in Gianni Schicchi (2008, debut); over a dozen roles to date including Monterone in Rigoletto (2018); Father in Hansel and Gretel (2018); Figaro in The Marriage of Figaro (2022); Leporello in Don Giovanni (2023); Capulet in Romeo and Juliet (2024). He is a 2021 recipient of the Eva and Marc Stern Artist Award.

Bass-baritone Craig Colclough initially studied as a cellist and eventually attended the University of Redlands in California. Before training with Wolf Trap Opera and Florida Grand Opera, he began his career appearing in several roles with LA Opera. The company awarded him the Eva and Marc Stern Artist Award during the 2020/21 season, celebrating artists with deep connections to LA Opera.

Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin. Colclough is currently building the character of Alberich under the direction of Brigitte Fassbaender for the Tiroler Festspiele in Austria. Having debuted Alberich in her 2021 Rheingold to great acclaim, Colclough will complete the cycle in 2024.

The 2022/23 season saw Colclough as Figaro in The Marriage of Figaro at LA Opera, Sharpless in Madama Butterfly at the Atlanta Opera with continued appearances as Monterone in Rigoletto at the Metropolitan Opera. The 2018/19 season included appearances as Peter in Hansel and Gretel at LA Opera, Fra Melitone in La Forza del Destino for his company debut with Oper Fankfurt, as well as the Storyteller in A Flowering Tree for his company debut with Opera Queensland. During the summer, he returned to the title role of Don Pasquale with the Berkshire Opera Festival.

A house favorite with Belgium’s Opera Vlaanderen, he has appeared with the company as Telramund, Kurwenal, Macbeth and the title role of Falstaff, in a production directed by Oscar-winning actor Christoph Waltz.

Known for his versatility, Craig Colclough has appeared as Peter Vogel in Korngold's Der Ring des Polykrates with the Dallas Opera; Hare in the world premiere of Burke and Hare with Boston Lyric Opera; Pistola in Falstaff with the Royal Opera House, Covent Garden; and Doristo in L’arbore di Diana with Minnesota Opera.

He has collaborated with acclaimed conductor Gustavo Dudamel for performances of Timur in Turandot with the Simon Bolivar Symphony Orchestra of Venezuela and Beethoven’s Ninth Symphony with the Los Angeles Philharmonic.

Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.

Learn more at CraigColclough.com.

From: Chicago, Illinois. LA Opera: Musetta in La Bohème (2007, debut); Mary in Highway 1, USA (2024).

Soprano Nicole Heaston has appeared with opera companies throughout the world, including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, Dallas Opera, Washington National Opera, Semperoper Dresden and the Glyndebourne Festival in England.

To begin the 2024/25 season, the soprano returned to the role of Claire Devon in the North American premiere of Missy Mazzoli’s The Listeners at Opera Philadelphia. She headlines Lyric Opera of Chicago's spring 2025 performances of that opera, making her company debut. With the National Symphony Orchestra, she sings the title role in Samuel Barber's Vanessa. Other engagements during the season include a Christmas program with Houston’s Mercury Chamber Orchestra and the role of Armida in Detroit Opera’s production of Handel’s Rinaldo.

A richly varied 2023/24 season included her returns to LA Opera as Mary in William Grant Still’s Highway 1, USA and to Houston Grand Opera as Alice Ford in Falstaff. With Philharmonia Baroque, she sang the unique combination of Anna/Dido in Errollyn Wallen’s Dido’s Ghost and Dido in Purcell’s Dido and Aeneas. During the spring of 2024, she made an anticipated role debut as Thaïs with Utah Opera.

She began the 2022/23 season with the world premiere of Missy Mazzoli’s The Listeners at the Norwegian Opera. She also sang Amore in Orfeo ed Euridice with San Francisco Opera and the Countess in The Marriage of Figaro with Houston Grand Opera.

Learn more at NicoleHeaston.com.

From: Salerno, Italy. LA Opera: Ford in Falstaff (2026, debut).

Ernesto Petti was born in 1986 in Salerno. He graduated from the Accademia di Alto Perfezionamento Torre del Lago Puccini. He was a member of the Centre Perfeccionamento Placido Domingo at Palau de les Arts in Valencia. He made his early debut as Eagro in Gluck’s Orfeo ed Euridice at the Festival Valle d’Itria in Martina Franca, followed by Dancaire in Carmen at the San Carlo in Napoli before making his debut at very young age as Giorgio Germont in La Traviata in Lecce.

Among his recent performances, it is worth mentioning the role of David in Mascagni’s L’Amico Fritz in Piacenza staged by Leo Nucci and conducted by Donato Renzetti; Giorgio Germont in La Traviata at the Teatro Lirico Cagliari, at Grand Théâtre de Avignon and touring in Italy; Renato in Un Ballo in Maschera at NCPA in Beijing and in Piacenza, Ravenna and Ferrara; Enrico in Lucia di Lammermoor at Teatro Petruzzelli in Bari and San Carlo in Naples, in a new production at Stadtheater Basel and in Palermo; Paolo in Simon Boccanegra at the Concertgebouw in Amsterdam; Carlo Gérard in Andrea Chénier at Teatro Alighieri in Ravenna; Conte di Luna in Il Trovatore, Marcello in La Bohème and Ford in Falstaff at Teatro Petruzzelli in Bari; a role debut as Kyoto in Mascagni’s Iris at Konzerthaus in Berlin; a role debut as Alfio in Cavalleria Rusticana at Teatro Massimo in Palermo; a role debut as Don Carlo in Ernani in Piacenza and at Vlamsee Oper; a role debut as the High Priest of Dagon in a new production of Samson et Dalila at Teatro San Carlo in Napoli and in the same opera house a debut as Rodrigo in a new Don Carlo; Lucia di Lammermoor at the Deutsche Oper Berlin; Nabucco in Oviedo and at the Staatstheater Mainz; Il Trovatore in Piacenza; Ernani in Venice; Rigoletto in Sydney; Un Ballo in Maschera in Barcelona; Madama Butterfly and La Gioconda in Naples; and Macbeth in Parma.

His appearances in the 2024/25 season include Nabucco in Ancona and in Cologne, Falstaff at Teatro Carlo Felice in Genoa, Cavalleria Rusticana/Pagliacci at Teatro Comunale in Modena and in Piacenza, Attila and Un Ballo in Maschera at Teatro di San Carlo in Naples, Rigoletto at Macerata Opera Festival and Trilogia Verdiana at Teatro Municipale in Piacenza.

From: Seattle, Washington. LA Opera: Nannetta in Falstaff (2026); Cunegonde in Candide (2026)

American soprano Deanna Breiwick, hailed by the New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career. 

In the 2025/26 season, Deanna Breiwick will return to the Dallas Opera to sing Sister Constance in Dialogues of the Carmelites, Nannetta in Falstaff with LA Opera, and in concert, Mahler’s Symphony No. 8 with Fabio Luisi and the Dallas Symphony, as well as Messiah with the Charlotte Symphony Orchestra.

In the 2024/25 season, Deanna Breiwick performed Lisette in La Rondine at Opéra de Monte Carlo, Adele in Die Fledermaus at Opera Theatre of St. Louis, joined the Utah Symphony for Mozart’s Requiem, the Oregon Symphony for the Soprano 2 solos in Mendelssohn’s Lobgesang, the Allentown Symphony for Vaughan-Williams’ Dona Nobis Pacem as well as presented recitals under the auspices of Florentine Opera and the Pacific Vocal Series in Laguna Beach.

Past operatic engagements have included a debut at San Francisco Opera, performing Sister Constance, conducted by Eun Sun Kim, the Bayerische Staatsoper for Adele in Die Fledermaus, and made debuts at the Gran Teatre del Liceu as Drusilla in L’incoronazione di Poppea, the Atlanta Opera as Cunegonde in Candide and with Philharmonia Baroque Orchestra, Oriana in Amadigi, returned to the Dallas Opera for the world premiere of Gene Scheer and Jody Talbot’s The Diving Bell and the Butterfly, singing the role of Claude and a concert performance as Lisette in La Rondine with Washington Concert Opera. 

At the Metropolitan Opera, Deanna Breiwick has been featured as La Charmeuse in Thaïs, a Flower Maiden in Parsifal, a Shadow in the North American premiere of Nico Muhly’s Marnie, Najade in Ariadne auf Naxos, and a featured soloist in the company’s Summer Recital Series. 

She has been an ensemble member of Opernhaus Zürich and the Bavarian State Opera in Munich.

Learn more at DeannaBreiwick.com.

From: Riverside, California. LA Opera: Normanno in Lucia di Lammermoor (2022, debut); Spoletta in Tosca (2022); Male Chorus in The Rape of Lucretia (2023); Don Curzio in The Marriage of Figaro (2023); Ramses in Moses (2023); Roderigo in Otello (2023); Don Ottavio in Don Giovanni (2023); Young Man / Second Villager in Frida y Diego (2023); Ferrando in Cosi fan tutte (2025); Fenton in Falstaff (2026). He is an alumnus of the Domingo-Colburn-Stein Young Artist Program (2022-24) and a 2025 winner of the Stern Artist Award.

The American-born Cuban and Colombian tenor Anthony León is quickly developing an international performing career. He was a 2023 grand finals winner of the Metropolitan Opera Laffont Competition and the 2022 first place winner of Operalia, where he also won the zarzuela prize.

His appearances for the 2025/26 season include debuts with Lyric Opera of Chicago as Ferrando in Cosi fan tutte and with both the Teatro Regio Torino and the Glyndebourne Festival as Belmonte in The Abduction from the Seraglio. On the concert stage, he performs Nadir in The Pearl Fishers with Washington Concert Opera, Estévez's Cantata Criolla with Gustavo Dudamel and the LA Philharmonic, as well as Handel's Messiah with the Toronto Symphony.

In the 2026/27 season, he will make his debut with the Dallas Opera as Nemorino in L'elisir d'amore.

His 2024/25 appearances included Nadir in The Pearl Fishers with Berlin's Staatsoper under den Linden, a return to LA Opera as Ferrando in Cosi fan tutte, Lysander in A Midsummer Night's Dream with Opera Theatre of Saint Louis and his Italian debut as Don Ottavio in Don Giovanni with the Teatro dell'Opera di Roma at the Caracalla Festival, as well as  Mozart’s Great Mass in C Minor with the Salzburg Festival, a concert with the Prague Philharmonia and a recital at Dublin's National Concert Hall.

His engagements for the summer of 2024 include Telemaco in Il Ritorno d'Ulisse at the Festival d’Aix-en-Provence, Arbace in Idomeneo with the Chicago Symphony Orchestra at the Ravinia Festival, and Beethoven's Symphony No. 9 with the LA Philharmonic at the Hollywood Bowl.

His appearances in the 2023/24 season included Don Ottavio in Don Giovanni at LA Opera and Nadir in The Pearl Fishers with the Cologne Opera. He also created the role of the Consumer in the world premiere of Ellen Reid's The Shell Trial at the Dutch National Opera. In the summer of 2024, he appeared in Ravel's L’Enfant et les sortilèges with the Salzburg Festival’s Young Singers Project and performed at the Aix-en-Provence Festival.

For the 2022/23 season, his appearances included several roles with LA Opera, Pelléas in Impressions de Pelléas with James Conlon at the Ebell of Los Angeles, and Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra.

Previous appearances 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.

Recent honors include 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.

From: Seoul, South Korea. LA Opera: Suzuki in Madama Butterfly (2024, debut); Mistress Quickly in Falstaff (2026); Marcellina in The Marriage of Figaro (2027).

Praised by the New York Times as a “vibrant mezzo-soprano” and a “dark-toned, agile mezzo-soprano,” Hyona Kim continues to captivate audiences worldwide with her vocal depth, dramatic range, and commanding stage presence. In the 2025/26 season, she will make highly anticipated debuts at the Metropolitan Opera and Irish National Opera as Suzuki in Madama Butterfly, and at the Korea National Opera as Brangäne in Tristan und Isolde. She also returns to LA Opera as Mistress Quickly in Falstaff, following her acclaimed company debut as Suzuki last season.

From 2018 to 2023, Kim was a principal artist with Dortmund Opera, where her repertoire included Suzuki (Madama Butterfly), Tzippie (Where the Wild Things Are by Oliver Knussen), Nancy Tang (Nixon in China), Ortrud (Lohengrin), Amneris (Aïda), and the title role in the German premiere of Frédégonde by Guiraud, Dukas, and Saint-Saëns.

Since joining the Metropolitan Opera in the 2022/23 season, she has covered the roles of Eboli (Don Carlo), Venus (Tannhäuser), and Amneris (Aïda). Her debut with the San Francisco Opera as Lady Wang in the world premiere of Bright Sheng’s Dream of the Red Chamber was met with critical acclaim, with the San Francisco Chronicle hailing her as an “unstoppable powerhouse.” She has since reprised the role with the Hong Kong Arts Festival and returned to San Francisco Opera for the revival of Dream of the Red Chamber and as Suzuki in a new production of Madama Butterfly.

Her international engagements include appearances with the Royal Danish Opera, New York City Opera, Canadian Opera Company, Opera Maine, Opera Carolina, Romanian National Opera, and the Belgrade Philharmonic Orchestra, among others. Her extensive repertoire also includes Azucena (Il Trovatore), Hermia (A Midsummer Night’s Dream), Wowkle (The Girl of the Golden West), Mistress Quickly (Falstaff), and both Olga and Larina in Eugene Onegin.

Kim is a national finalist of the Metropolitan Opera National Council Auditions, grand winner of the Joy in Singing Competition, and first prize winner of the Gerda Lissner International Vocal Competition. She has received multiple grants and awards from the Licia Albanese-Puccini Foundation, Giulio Gari Foundation, Olga Forrai Foundation, and the Poulenc Competition, where she won the Jennie Tourel Prize. In her native South Korea, she won the Suri Competition and the Schubert Lied Competition.

She holds a Bachelor of Music from Ewha Womans University and earned both her Master’s degree and Professional Studies Diploma from Mannes College of Music in New York City. Her festival and training credits include the Aspen Music Festival, Music Academy of the West, International Vocal Arts Institute, Natchez Music Festival, and the Martina Arroyo Foundation.

An active concert artist, Kim has performed as alto soloist in Handel’s Messiah with the Nashville Symphony, Verdi’s Requiem with Sinfonia da Camera, and Vivaldi’s Gloria at Carnegie Hall with the New England Symphonic Ensemble. She also appeared at the PyeongChang Music Festival in Beethoven’s Symphony No. 9 and has performed Bach’s St. John Passion, St. Matthew Passion, and Mendelssohn’s Elijah. She was invited to perform at the Harare International Festival of the Arts in Zimbabwe and has collaborated with the Brooklyn Art Song Society, Ensemble 212 and the Fall Island Vocal Arts Seminar.

Learn more at KimHyona.com.

From: Grass Valley, California. LA Opera: soloist in Frankenstein with Live Orchestra (2022); Lucretia in The Rape of Lucretia (2023); Jocabed in Moses (2023); Emilia in Otello (2023, mainstage debut); Third Frida Image in Frida y Diego (2023); Third Maid in The Dwarf (2024); Flora in La Traviata (2024); Maddalena in Rigoletto (2025). She is an alumna of the Domingo-Colburn-Stein Young Artist Program (2022-24).

Mexican-American mezzo-soprano Sarah Saturnino is quickly becoming known for her versatility and “range of vocal colors” (Miami Herald). She is a 2023 national winner of the prestigious Metropolitan Opera Laffont Competition.

Her 2024 engagements include Fricka in excerpts from the Ring cycle in concerts with Lyric Opera of Kansas City. In 2025, she will make her Santa Fe Opera debut as Fricka in Die Walküre, a role she will reprise in May 2026 with the Los Angeles Philharmonic.

Her appearances for the summer of 2023 included Dorabella in Cosi fan tutte with the Tel Aviv Summer Opera Festival, and Alice Ford in SIr John in Love by Ralph Vaughan Williams at the Bard Music Festival. In October 2023, she performed the title role in Carmen with Santa Barbara Opera.

Her appearances for the 2022/23 season included 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.

From: Shenyang, China. LA Opera: Tybalt in Romeo and Juliet (2024, debut); High Priest of Amon in Akhnaten (2025); Bardolph in Falstaff (2026). He joined the Domingo-Colburn-Stein Young Artist Program in 2024.

Tenor Yuntong Han earned his master’s degree at Indiana University's Jacobs School of Music, where he studied with Heidi Grant Murphy and Kevin Murphy. His roles there include Romeo in Romeo and Juliet, Tamino in The Magic Flute, Ruggero in La Rondine and Don Ottavio in Don Giovanni. Before coming to IU, he earned his second bachelor’s degree, in vocal performance, at New England Conservatory of Music under the tutelage of MaryAnn McCormick, and a bachelor’s degree in aircraft manufacturing engineering from Northwestern Polytechnical University in China. He was a 2023 national finalist in the Metropolitan Opera Laffont Competition. That same year, he was a vocal fellow at Ravinia's Steans Music Institute. His roles at the New England Conservatory include Nemorino in The Elixir of Love, Rodolfo in La Bohème and Lucano in The Coronation of Poppea. In addition to his work on the opera stage, he is also active as a concert and oratorio soloist. Highlights include Handel’s Messiah, Haydn’s The Creation and the NEC Song and Verse art song series.

From: São Paulo, Brazil. LA Opera: Imperial Commissioner in Madama Butterfly (2024, debut); Duke of Verona in Romeo and Juliet (2024); Jose Tripaldi in Ainadamar (2025); Count Ceprano in Rigoletto (2025); Aye in Akhnaten (2025); Pistol in Falstaff (2026). He joined the Domingo-Colburn-Stein Young Artist Program in 2024.

Bass Vinícius Costa has been a Renée Fleming Artist at the Aspen Music Festival, singing the title role in The Marriage of Figaro and the role of Victor Fyodorov in Jimmy Lopez's Bel Canto.

In the summer of 2026, he will be a Gaddes Festival Artist with Opera Theatre of Saint Louis, where he will appear as Count Capulet in Roméo et Juliette.

He sang the roles of Amaral and the Father in a recently released recording of Brazilian composer André Mehmari's 2023 opera O Machete.

Winner of the Ralph Vaughan Williams award for best performance of an English song at the 2022 Wigmore Hall Song Competition, he and his collaborator Pierre Nicolas-Colombat were among the 10 semi-finalists out of more than 120 entries in the most important song competition in the United Kingdom and one of the biggest competitions on the European continent. He was also a first place winner in the Brazilian and Latin American Linus Lerner Singing Competitions.

He has performed with Theater Basel and Bühne Bern in Switzerland and with Teatro São Pedro, Teatro Municipal de São Paulo and Sala São Paulo in Brazil. His roles include Sarastro in The Magic Flute, Dandini in La Cenerentola, Zuniga in Carmen, Fiorello in The Barber of Seville and Rodimarte in Scarlatti's The Triumph of Honor. On the concert platform, he has been a soloist in works such as Bach's Ich Habe Genug and the Saint Matthew Passion, as well as Symphony No. 5 (“Requiem, Bardo, Nirmanakaya”) by Phillip Glass.

He began his vocal and musical education with the Guri Santa Marcelina Program in 2014 with Naraine Sri Hamsa and Paulo Cavalcante. In Brazil he was a student of Maria Lúcia Waldow and Francisco Campos; graduated with a bachelor's degree in singing in 2021 and in 2023 completed his master's degree in performance with Marcel Boone, with specialized training in song with Jan Schultz at the FHNW Hochschule Für Musik Basel. His training also includes the Old Music Workshop at the Escola Municipal de Música de São Paulo with Nicolau de Figueiredo and master classes with Brigitte Fassbaender, Ludovic Tezier and Margreet Honi. In 2023, he participated in the Reneé Fleming Song Studio at Carnegie Hall.

From: Minot, North Dakota. LA Opera: Benvolio in Romeo and Juliet (2024, debut); Bullfighter in Ainadamar (2025); Borsa in Rigoletto (2025); Parpignol in La Bohème (2025); Dr. Caius in Falstaff (2026); First Armored Man in The Magic Flute (2026); Ismaele in Nabucco (2027). He joined the Domingo-Colburn-Stein Young Artist Program in 2024.

Heralded as having a voice “without dross” and for his “flawless vocal technique”, Nathan Bowles is quickly earning his reputation as a compelling stage performer. 

In the summer of 2026, he will make his role debut as Siegmund in Die Walküre with the Taiwan Philharmonic.

In addition to his LA Opera appearances, his 2025 performances included Don José in La tragédie de Carmen with Tulsa Opera and Canio in Pagliacci with Pacific Opera Project.

In 2024, he made his Dallas Opera mainstage debut last year as Benvolio in Romeo et Juliette. With the Santa Fe Opera, Bowles was featured as Animal Tamer and Waiter 2 in Der Rosenkavalier. He has been heard with Western Plains Opera as Don José in Carmen, John Styx in Orpheus in the Underworld, the Baker in Into the Woods, and as Alfred in Die Fledermaus. With the SMU Lyric Theatre, he has been heard in such roles as Male Chorus in The Rape of Lucretia and Judge Danforth in The Crucible.

Bowles is a 2024 national finalist in the Metropolitan Opera Laffont Competition, winning the New Orleans district and Gulf Coast Region. He is a recipient of the 2024 Richard F. Gold Career Grant. Concert performances include Vaughan Williams’ Hodie, Hailstork’s I Will Lift up Mine Eyes, and in the DSO Symphony Gala. He is a graduate from Minot State University and holds a master’s degree from Southern Methodist University.

Learn more at NathanBowlesTenor.com.