Versatile and dynamic in both repertoire and style, she is known for her brilliant vocal agility and powerful stage presence. She captivates audiences with her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera Magazine). With “movie star looks and the poise to match, she has everything it takes to make it to the top” (Opera Wire). Her precision and unique expressiveness across the repertoire have put her on the map as one of the most exciting young singers to see. 

This season marks many important debuts and new collaborations as well as awaited returns. Ms. McIntyre sings Janine/Ofwarren in Poul Ruder’s The Handmaid’s Tale with Detroit Opera and rejoins San Francisco Opera (Parsifal). She will sing Aithra in Christian Räth’s new production of Strauss’ Die Ägyptische Helena at Bard SummerScape where she triumphantly debuted her first Straussian role in 2022 (Aminta, Die Schweigsame Frau).  She will also return to Opera Theatre of Saint Louis in Séan Curran’s beloved production of Pirates of Penzance as Mabel. On the symphonic stage, Ms. McIntyre debuts with the Grant Park Music Festival (Carmina Burana), the Kansas City Symphony (Mendelssohn’s A Midsummer Night’s Dream), Tulsa Symphony (Mahler Symphony 2), as well as the Philadelphia Orchestra (The Glorious Sound of Christmas) this season. Additionally, Jana will return to Disney Hall to perform Wing on Wing (Esa-Pekka Salonen) in a concert curated by both Gustavo Dudamel and Esa-Pekka Salonen for the Los Angeles Philharmonic in honor of the prolific architect and designer, Frank Gehry. This season, Jana also joins the roster of The Metropolitan Opera for their new production of I Puritani covering Lisette Oropesa as the Puritan heroine, Elvira.

In 2024-2025 Ms. McIntyre sang Improvisations sur Mallarmé I and II from Boulez’s Pli selon pli with The New York Philharmonic under the baton of Maestro David Robertson, protégé of the late Pierre Boulez. She also debuted with the Los Angeles Philharmonic and Maestro Gustavo Dudamel singing the soprano solo in Mendelssohn’s A Midsummer Night’s Dream and was invited on their fall tour (Walt Disney Hall, Carnegie Hall, and Teatro Mayor in Bogotá, Colombia). Ms. McIntyre sang Tytania in Britten’s A Midsummer Night’s Dream with Opera Theatre of Saint Louis and the title role in La fille du Régiment with Opera Santa Barbara. Further engagements include performances of Mahler Symphony No. 4 and her first performances of Strauss’ Vier Letzte Lieder with The Orchestra Now. She joined Detroit Opera for their co-production of Rinaldo as well as Erie Philharmonic for Handel’s Messiah.

The 23/24 season included a return to Opera Santa Barbara for La Divina: The Art of Maria Callas. Additional season engagements included debuts with the New Jersey Symphony Orchestra, rejoining Maestro Xian Zhang for Carmina Burana and the Sacramento Choral Society and Orchestra for their Rodgers and Hammerstein Celebration. She also returned to Sacramento Philharmonic & Opera, debuting Adele in their new production of Die Fledermaus and joined the roster of San Francisco Opera for their productions of Innocence (Kaija Saariaho) and Die Zauberflöte.

Additional recent successes include Ms. McIntyre’s Carnegie Hall debut with the American Symphony Orchestra in Richard Strauss’ rarely heard Daphne (Title Role), Die Zauberflöte highlights with  the San Francisco Symphony, Semele (Semele), Norina (Don Pasquale) and Giulia (La scala di seta) with Opera Santa Barbara as well as Aminta for a new production of Die Schweigsame Frau with Bard SummerScape Festival, and Cinderella with Tulsa Opera for their new production of Sondheim’s Into the Woods. Jana has performed Carmina Burana with the Santa Barbara Symphony, New Jersey Symphony, and the Seattle Symphony. With the Rally Cat in New York City, she created the role of Marianne in recording and workshop of Aferidan Stephens and Marella Martin Koch’s Elinor and Marianne based on the Jane Austen novel Sense and Sensibility. She also performed in chamber concert with Jerod Impichchaachaaha Tate and Tulsa’s Signature Symphony.

Ms. McIntyre has recently been included on the rosters of Lyric Opera of Chicago (Cendrillon), Palm Beach Opera (Die Zauberflöte) and Tulsa Opera (Rigoletto, The Little Prince, Don Giovanni). She was scheduled to make company debuts with Opera Theatre of Saint Louis and Canadian Opera Company among other notable returns to theaters which have been postponed/canceled due to the pandemic.

She is a George London Foundation top prize winner as well as a Metropolitan Opera National Council grand finalist. She performed Ännchen in Heart Beat Opera’s new production of Der Freischütz and joined Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City and for whom she was to return as Sister 1 in Mark Adamo and John Corgliano’s newly commissioned Lord of Cries which was canceled in March of 2020. She also debuted with the Sacramento Philharmonic singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “Mozart Favorites” Concert.

Early career highlights include critical acclaim for her portrayal of Andromède in the American premiere of Ibert’s Persée et Andromède which made the New York Times “Best Classical Music of 2016;” her professional debut as the Amore in Gluck’s Orfeo ed Euridice alongside Anthony Roth Costanzo and Kiera Duffy in an installment of “Orphic Moments” with Brooklyn’s National Sawdust Theater under the baton of Matthew Aucoin; as well as performing in the west coast premiere of Jonathan Scheffer’s Blood on the Dining Room Floor (Rose) at age 19. Collaborations with Maestro George Manahan to perform Joaquin Rodrigo’s Cuatro Madrigales Amatorios in concert with the Manhattan Chamber Sinfonia and also sang Mater Gloriosa in Mahler’s 8th Symphony with the Manhattan Oratorio Society at St. John the Divine Cathedral. She later performed and recorded Mahler 8 as a part of David Briggs’ organ transcription which was released by Albany Records in 2016.

Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Gerda Lissner, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation, and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.

Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Masters in Vocal Performance from the Manhattan School of Music.

American tenor Andrew Morstein, winner of “Best Male Newcomer” at the Österreichischer MusikTheater Preis Awards in Vienna and praised for his “vocal virtuosity” (Olyrix), is a recent graduate of the Junges Ensemble Theater with the Theater an der Wien. In the 2025–2026 season, Mr. Morstein sang Don Ramiro in La Cenerentola with Arizona Opera, Alfredo in La traviata (a role debut) with Pensacola Opera, Don Ottavio in Don Giovanni with Florentine Opera, Master Ford in Salieri’s Falstaff with Chicago Opera Theater, and Almaviva in Il barbiere di Siviglia with both Knoxville Opera and Helena Symphony.

In the 2024–2025 season, Andrew Morstein returned to the Wexford Opera Festival for Florindo in Mascagni’s Le maschere, Almaviva in Il barbiere di Siviglia at Central City Opera, Avito in L’Amore dei Tre Re with Opera Festival of Chicago, and Lindoro in L’Italiana in Algeri with Opera in the Heights and Anchorage Opera. In concert, he performed Mozart’s Requiem with the Boise Philharmonic and appeared with Pensacola Opera for a recital as part of their Opera After Dark series. He also participated in two world premieres: State of the Jews, about the life of Theodor Herzl, composed by Alex Weiser with a libretto by Ben Kaplan for American Opera Projects; and The Tongue and the Lash, an opera about James Baldwin for the 60th anniversary of the Baldwin/Buckley Cambridge debate, composed by Damien Sneed with Karen Chilton as librettist, directed by Denyce Graves-Montgomery.

Recently, Andrew made his debuts at the Salzburg Festival, singing Don Curzio in Le nozze di Figaro; performed the role of Leonard Lev for the recording and performance of Tobias Picker’s Awakenings with Boston Modern Opera Project and Odyssey Opera; Serge in Erlanger’s L’Aube rouge at the Wexford Opera Festival; Almaviva in Il barbiere di Siviglia with Opera Theatre of St. Louis and Opera Neo in San Diego; Edgardo in Lucia di Lammermoor with Pensacola Opera; Pyotr Fyodorovich/7th Man/7th Student in The Nose with Chicago Opera Theater; and Lindoro in L’Italiana in Algeri with St. Pete Opera. In concert, Andrew sang the tenor solo in Carmina Burana with the New Jersey Symphony Orchestra and Xian Zhang, as well as with the Amarillo Symphony.

While in Vienna, appearances included Almaviva, Don Ottavio in Don Giovanni, Spoletta in Tosca, Camille in Tobias Picker’s Thérèse Raquin, Officer 1/Sandy in The Lighthouse, Georg in the 175th anniversary performance of Der Waffenschmied, and Klas/Windmüller in Enoch Arden.

Other notable performances include Andronico in Bajazet (Vivaldi), an evening of Russian song at the Wiener Kammeroper, and the Amalekite in Saul (Händel) in a celebrated production by Claus Guth, which was filmed for Austrian public television and transmitted by ORF Austria. He also performed Telemachus/City Man in Patrick Morganelli’s Hercules vs. Vampires with Nashville Opera and Ramiro in La Cenerentola with Opera NEO.

While a graduate student at Northwestern University, Mr. Morstein performed Peter Quint in Britten’s The Turn of the Screw, Tom Rakewell in Stravinsky’s The Rake’s Progress, Bénédict in Berlioz’s Béatrice et Bénédict, and Alfred in Die Fledermaus. In concert, he performed Beethoven’s Symphony No. 9 and the tenor solos in Janáček’s The Diary of One Who Disappeared.

Before opera became a full-time career, Andrew was part of two critically acclaimed a cappella groups, “Straight No Chaser” and “Gentleman’s Rule,” both of which toured internationally. Andrew resides in Chicago with his wife.

Praised for his “arrestingly vibrant” and “robust” baritone, Craig Verm has brought his riveting dramatic portrayals to stages around the world. Most recently, he received high praise for his performances of the title role in Billy Budd for Des Moines Metro Opera. John van Rhein of the Chicago Tribune said, “The strong baritone voice, strapping physique and winning stage presence of Craig Verm created a sympathetic Billy” and Opera Today said Verm “was every moment the star vocal and theatrical presence that galvanized the performance.”

In the 2017-2018 season, Verm made an impressive debut as a last-minute substitute in the title role of Mozart’s Don Giovanni for The Dallas Opera. His performances received critical acclaim for “succeeding in the daunting assignment…with his own credible realization of the iconic character.” Additionally that season he joined Opera Philadelphia for their inaugural festival, O17 in War Stories, a double-bill of Monteverdi’s Il combattimento di Tancredi and Lembit Beecher’s I Have No Stories To Tell You, a production he premiered in New York City with Gotham Chamber Opera. He also returned to Seattle Opera as Guglielmo in Così fan tutte and Claudio in Beatrice et Benedict and revisited the role of Doug Hansen in Everest for his company debut with Lyric Opera of Kansas City. In the summer of 2018, he returned to The Santa Fe Opera as Haly in Italian Girl in Algiers.

 In the 2018-2019 season, he returns to Pittsburgh Opera as Peter in Hansel and Gretel and Marcello in La bohème and returns to Austin Opera as Lt. Gordon in Silent Night. In the 2019-2020 season, he returns to Pittsburgh Opera for the title in Don Giovanni and also for Riolobo in Florencia en el Amazonas. He also returns to Austin Opera for Talbot’s Everest. 

Recent performances include The Santa Fe Opera as Sonora in Fanciulla del West along with Der Graf in Capriccio, performances for which he was praised for his “deep, velvet baritone {whose} featured moments leapt out from the crowd.” Additionally, he joined Arizona Opera for their 45th Anniversary Celebration alongside famed mezzo-soprano Frederica von Stade. He returned to Pittsburgh Opera as Ping in Turandot, made his debut with Seattle Opera as Papageno in The Magic Flute, and sang Marcello with Knoxville Opera. In the most recent season, Mr. Verm was heard at Opera Philadelphia as Belcore in L’elisir d’amore, as Friedrich Bhaer in Little Women at Madison Opera, and sang Messiah with Rhode Island Philharmonic.

Mr. Verm has made international debuts on stages including Lyric Opera of Chicago as Albert in Massenet’s Werther; Escamillo in Carmen at Teatro Municipal de Santiago, where he later returned as Billy Budd; at Théâtre du Capitole de Toulouse as Sid in Albert Herring; as Ramiro in L’heure espagnole with the Nationale Reisopera in the Netherlands; and as Count Almaviva in Mozart’s Le nozze di Figaro at Seiji Ozawa’s Ongaku-juku Festival. Frequently sought after for new works, Mr. Verm created the role of Doug Hansen in Judy Talbot’s Everest at Dallas Opera, sang the title role of Elmer Gantry with Florentine Opera, and was heard as George in Of Mice and Men at Tulsa Opera. In the fall of 2017, he returned to Opera Philadelphia for War Stories, a production which pairs Monteverdi’s Il combattimento di Tancredi e Clorinda with Lembit Beecher’s I have no stories to tell you. He returned to the double-bill as Tancredi and Daniel, roles he performed when the production premiered with Gotham Chamber Opera.

Equally adept within the realm of oratorio, his other concert appearances encompass performances of Glass’ the CIVIL warS with the Los Angeles Philharmonic; Vaughan Williams’ Fantasia on Christmas Carols with the Pittsburgh Symphony; Vaughan Williams’ Five Mystical Songs with the Asheville Symphony Orchestra; Gounod’s Messe Solennelle de Sainte Cécile with Les Escales Musicales d’Evian; Orff’s Carmina Burana with the Alexandria Symphony; he sang William Schuman’s cantata, Casey at the Bat with the Reno Philharmonic; Haydn’s Lord Nelson Mass with the Boston Youth Symphony; Handel’s Messiah with the Rhode Island Philharmonic; Bach’s Mass in B minor at Portugal’s Aviero Music Festival; Beethoven’s Symphony No. 9 as a guest artist at Brown University; as well as Faure’s Requiem with the Pittsburgh Youth Symphony, and Schubert’s Mass in G and Rutter’s Mass of the Children with the Pittsburgh Concert Chorale. He has also sung Haydn’s Creation with the Robert Page Festival Singers at the Virginia Arts Festival as well as on tour in Vienna and Budapest, Mahler’s Songs of a Wayfarer with the Aspen Contemporary Ensemble, as well as performances of Brahms’ Ein deutsches Requiem. He has also presented solo recitals under the auspices of The Dallas Opera, the Théâtre du Capitole de Toulouse and at West Liberty University. 

He enjoys a strong relationship with Pittsburgh Opera, where he has sung the lead baritone role of Tom Joad in Gordon’s The Grapes of Wrath, Zurga in Les pêcheur de perles, Papageno, Mercutio in Roméo et Juliette, Ping, Junius in The Rape of Lucretia, the Novice’s Friend in Billy Budd, Angelotti in Tosca as well as Guglielmo in student performances of Così fan tutte. Other recent performances include Marcello, Minskman in Dove’s Flight, and Ping with Austin Lyric Opera; Papageno, Aeneas in Dido and Aeneas, and Adonis in Venus and Adonis with Florentine Opera; Ned Keene in Peter Grimes and Mercutio with Des Moines Metro Opera; Marcello and Zurga with Nashville Opera; Schaunard in La bohème with Opera Philadelphia; Sharpless in Madama Butterfly at Lyrique-en-Mer/Festival de Belle-Île; Joseph Pitt in Peter Eötvös’ Angels in America with Fort Worth Opera; Astolfo in the world premiere of Lewis Spratlan’s Life is a Dream and Hermann in Les contes d’Hofmann with Santa Fe Opera; Count Almaviva and Falke in Die Fledermaus with the Opera Theatre of Pittsburgh; and the title role of Eugene Onegin, Guglielmo, and the Forester in The Cunning Little Vixen with Aspen Opera Theater. He has also joined symphony orchestras including the Los Angeles Philharmonic for Angelotti, Marullo in Rigoletto, and the Mandarin in Turandot, and the San Francisco Symphony for Fidelio with Michael Tilson Thomas conducting.

He received his Master of Music from the University of Cincinnati-College Conservatory of Music where his performances included title role in Carlisle Floyd’s Markheim. He was graduated cum laude from Rice University’s Shepherd School of Music. He was a 2006 national semifinalist in the Metropolitan Opera National Council Auditions and is a former member of the young artist programs of Santa Fe Opera and Cincinnati Opera.

Adam Larsen is a documentary filmmaker, projection artist, and designer based in Asheville, NC. His films include Undersung, which chronicles the experiences of caregivers for severely disabled family members, and Neurotypical, which explores autism from the perspective of autistic individuals and premiered on PBS’s POV.

Adam’s projection art spans across a variety of media, including immersive installations and live performance design. Notable projects include A Worm’s Eye View, a 360-degree experience for autistic audiences that premiered at the Common Senses Autism Festival and was later presented at the David Brower Center in Berkeley; Nebraska Flatwater, a 10-projector meditation on the Nebraska landscape at Gallery 1516 in Omaha; and The Dharma at Big Sur, a 12-projector installation set to John Adams’s composition, also at Gallery 1516.

In the realm of opera and symphonic performance, Adam has directed three semi-staged operas for the Houston Symphony—Bluebeard’s Castle, Oedipus Rex, and Salome—and conceptualized and crafted Let Me Freeze Again to Death by Missy Mazzoli for the Guggenheim’s Works & Process series. He has also co-directed and edited Ellen Reid’s Lumee’s Dream at LA Opera and directed and edited three works for the Sun Valley Music Festival during the pandemic. Additionally, Adam created and designed Rainbow for the Honolulu Theatre for Youth, an immersive theatrical journey that blends simple science, ancient stories, and the emotional power of color to explore one of Hawaii’s most iconic symbols—the rainbow.

As a projection designer, Adam has contributed to over 200 productions in theatre, dance, symphony, and opera, collaborating with some of the leading voices in these fields. His diverse credits include Broadway’s LoveMusik (directed by Hal Prince), the world premieres of Corigliano’s The Lord of Cries at Santa Fe Opera, Missy Mazzoli’s Breaking the Waves at Opera Philadelphia, David Lang’s Prisoner of the State with the New York Philharmonic. Adam also designed The Gospel at Colonus (Athens, Edinburgh, Spoleto festivals), Esperanza Spalding’s 12 Little Spells tour, and the world premiere of Haruki Murakami’s The Wind-Up Bird Chronicle at the Singapore International Festival. Other credits include Janáček’s From the House of the Dead at Canadian Opera; Bernstein’s Mass at the Los Angeles Philharmonic and Lincoln Center; Pelléas et Mélisande at the Cincinnati Symphony; Offenbach’s The Tales of Hoffmann at Hawaii Opera Theatre; Adams’s A Flowering Tree and Handel’s Agrippina at Opera Omaha; Foss’s Phorion with New World Symphony; Mascagni’s Iris at Bard Summerscape; Britten’s Peter Grimes, Bernstein’s On the Town, Mussorgsky’s Boris Godunov, as well as all eight seasons of the SoundBox series at San Francisco Symphony.

Currently, Adam is developing The Pinecone, a mobile 360-degree projection venue designed to bring immersive experiences of the natural world to audiences with disabilities.