Renowned American conductor Richard Buckley has been heralded by critics across the world for his dynamic contributions to both the orchestral and operatic genres. His extraordinary career includes performing with some of the world's great opera companies: Lyric Opera of Chicago, San Francisco Opera, Los Angeles Opera, Washington Opera, New York City Opera, Santa Fe Opera, Florida Grand Opera, Seattle Opera, Baltimore Opera, Opera Company of Philadelphia and L'Opera de Montreal. In Europe he has enjoyed return engagements at the Royal Opera House at Covent Garden, Deutsche Oper Berlin, L'Opera National de Paris, Royal Danish Opera, Goteborg Opera, Norwegian National Opera, De Nederlandse Opera and Teatro San Carlo Lisbon, among others. Buckley's passionate conducting has been realized with some of the world's finest orchestras including: the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Minnesota Orchestra, the symphony orchestras of Chicago, St. Louis, Houston, Toronto, Edmonton, Vancouver, Utah and Seattle.

Buckley has toured with London's Royal Philharmonic Orchestra, the BBC Symphony and the Scottish Chamber Orchestra; conducted a gala with the Berlin Radio Symphony which was televised nationally and recorded for Koch-Schwann; and appeared with the BBC Philharmonic in the "Great Composers" series for BBC Television. He has also had guest appearances with the CBC Vancouver Orchestra, Calgary Philharmonic, Prague Symphony, Hong Kong Philharmonic, Rotterdam Philharmonic, Royal Liverpool Philharmonic, the Halle Orchestra, Ulster Orchestra and L'Orchestre National de Lyon. In addition to his many impressive guest conducting engagements, Mr. Buckley has served as the Principal Guest Conductor of the Seattle Symphony, and Music Director of the Oakland Symphony.

Eric Einhorn recently made his Glimmerglass Opera debut with a production of Offenbach's Orpheus in the Underworld.  Other projects include developing and directing a school tour of Cosi fan tutte for Florida Grand Opera, Oedipus the King for Klasikos Theater in Pittsburgh, as well as Xerxes for the Pittsburgh Opera Center.  Eric has served on the directing staff of the Metropolitan Opera since 2005, working numerous new productions, including two world premieres: An American Tragedy and The First Emperor.  From 2002-2004, he was the resident stage director for Great Music for a Great City at the City University of New York Graduate Center where he staged Brundibar and The Medium.  A proponent of Holocaust art, Mr. Einhorn has directed several pieces on the subject including Korczak’s Orphans (co-director of the world premier staging) with Real Time Opera, a reading of While Childhood Slept with the Holmdel Theatre Company, and Der Kaiser von Atlantis at Oberlin College. In addition, he has served as resident stage director for the Music at Hillwood concert series at the Tilles Center of Long Island University.  He holds a Bachelor of Music degree in Opera Directing & Voice Performance from the Oberlin Conservatory of Music. 

Soprano Emily Pulley's radiant voice and electrifying acting have won her both national and international acclaim. Opera News writes, "Pulley's bright, perceptively shaded tone and sensitive, responsive acting make her a refreshing heroine, always playing the role rather than the star turn." The New York Times described her portrayal of the title role of Floyd's Susannah as being, "sung with unfailing warmth, radiance, and spirit," and elsewhere has lauded her singing as "faultless and exquisite."

Hailed by the San Francisco Chronicle for her “bright presence both vocally and theatrically,” soprano Suzanne Ramo has made a brilliant start to her career. A former Adler Fellow, she debuted with San Francisco Opera as Woglinde and the Forest Bird in their 1999 Der Ring des Nibelungen Festival and soon was starring in the title role in The Ballad of Baby Doe. Other company appearances have included Papagena in Die Zauberflöte and Countess Olga Sukarev in Fedora as part of the Viva Domingo! Gala. She also appeared in San Francisco Opera Center’s Showcase, singing the title role in Cavalli’s La Calisto, and as Miss Wordsworth in Albert Herring. In 2003, Ms. Ramo returned to San Francisco for her role debut as the Queen of the Night. Most recently, she has been heard with Utah Opera, Colorado Music Festival, in Beethoven’s Symphony No. 9 with the Modesto Symphony Orchestra, and Barber’s Knoxville: Summer of 1915 with the Victoria Symphony.

A 1998 national finalist in the Metropolitan Opera National Council Auditions, Ms. Ramo made her professional debut as Papagena during her apprenticeship with Austin Lyric Opera. She has since returned to Austin as Zerlina in Don Giovanni and as Stella in a new production of Andre Previn’s A Streetcar Named Desire. She has also performed in Rigoletto, Der Rosenkavalier, Semele, Falstaff, Die Fledermaus, Le Nozze di Figaro, The Turn of the Screw, Cosi fan Tutte , and La Traviata. Equally accomplished on the concert stage, Ms. Ramo has been heard in the Brahms Requiem, Mozart’s Mass in c minor, Handel’s Messiah and Poulenc’s Gloria, and recently as the Seraph in Beethoven’s Christus am Ölberge with the Philharmonia Baroque Orchestra in San Francisco.

Following recent performances of Nemorino in L’elisir d’amore with Arizona Opera, the Arizona Republic exclaimed that tenor Scott Scully “turned in a performance startling for its clarity, easy power and infusion of character. Scully embraced the big second act aria of deathless beauty, ‘Una furtiva lagrima,’ with warmth and emotional charge.” Quickly becoming an in-demand presence on American and international stages, his performances in the 2007-08 season include returns to Fort Worth Opera for Louis in Angels in America and the Ballad Singer in Of Mice and Men and Edmonton Opera for Don Jose in Carmen. He also joins Dallas Opera for Brioche in Merry Widow and returns to Opera Pacific for performances of Die Zauberflöte.

Celebrated by the New York Times for her “rare talent that can send chills down a listener's spine even in familiar music,” Jennifer Check made a triumphant debut at the Palau de les Artes Reina Sofía in Valencia when she stepped into the role of Iphigenie in Gluck’s Iphigénie en Tauride mid-performance at the beginning of the 2008-09 season. Also this season, she sings the title role of Norma with Palm Beach Opera, returns to both the Milwaukee Symphony Orchestra for Mahler’s Symphony No. 8 and the Greensboro Symphony for Carmina Burana, and sings Verdi’s Requiem with the Washington Chorus. In addition, she sings her first performances of Lady Billows in Albert Herring under the baton of Lorin Maazel for his Chateauville Foundation. In the 2009-10 season, she returns to the Metropolitan Opera to reprise repertoire that includes Nella in Gianni Schicchi, the Priestess in Aida, and the Fifth Maid in Elektra. She also joins the New Jersey Symphony Orchestra for her first performances of Strauss’ Vier Letzte Lieder and the Phoenix Symphony for Beethoven’s Symphony No. 9.

Sheila Nadler impresses audiences with her powerful stage presence and a contralto voice of uncommon richness.  An artist of eclectic achievements, her repertory ranges from the Baroque, such as Handel’s Giulio Cesare (La Monnaie) to premieres of contemporary works, such as Bernstein’s A Quiet Place (Houston), Adam’s The Death of Klinghoffer (La Monnaie), Lang’s Modern Painters (Santa Fe) and Gohr’s Arianna (Covent Garden)

As a soprano, Dana Beth Miller was engaged by the leading opera houses in the United States including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, New York City Opera, Dallas Opera, Seattle Opera, and Cincinnati Opera, among many others.

Ms. Miller enters the next phase of her career as a mezzo-soprano, preparing such roles as Carmen, Dalila, Princess Eboli in Don Carlo, Santuzza in Cavalleria Rusticana, and Amneris in Aida.

Engagements for the 2008-2009 season include the role of Margared in Lalo's rarely performed opera, Le roi d'Ys, with the American Symphony Orchestra at Avery Fisher Hall, the mezzo-soprano soloist in a concert of arias entitled Arias, Overtures, and Arabesques with the Sacramento Philharmonic Orchestra and Ballet, the Mother and Witch in Hansel and Gretel with Cleveland Opera, the mezzo-soprano soloist in both Verdi's Requiem with the Tulsa Philharmonic Orchestra and Oratorio Chorus and Beethoven's Ninth Symphony with the Milwaukee Symphony Orchestra and Chorus, the Mother in Hansel and Gretel with Tulsa Opera, and Mere Marie in Poulenc's Dialogues des Carmelites with Austin Lyric Opera.

A versatile baritone, Mr. Small has established himself as a gifted singing actor. Equally comfortable with comedy or drama, his repertoire is richly varied. He debuted his Figaro in Il Barbiere di Sivilgia for the Lyric Opera of Kansas City and subsequently has had tremendous success with the role. He made his Austin Lyric Opera debut in this signature role. Mr. Small’s Figaro has charmed audiences for the opera companies of Nevada, Dayton, Toledo, Lyric Opera Cleveland, Chicago Opera Theater, Des Moines Metro Opera , Fresno Grand Opera and on tour in France and Spain with Il Teatro Lyrico d’Europa. Mr. Small has also performed with Nevada Opera, Des Moines Metro Opera, Pensacola Opera, Sacramento Opera, Santa Barbara Opera, Cincinatti Opera, Nashville Opera, El Paso Opera, Toledo Opera, and Chattanooga Symphony and Opera, among others.

Mr. Small’s roles with the Austin Lyric Opera include Figaro in Barber of Seville, Masetto in Don Giovanni, Valentin in Faust, Sonora in Fanciulla del West, and Marcello in La Boheme. In addition to being an accomplished performer, Mr. Small adds another credit to his busy schedule: assistant professor of music on the voice faculty and opera department at the University of Texas at Austin School of Music and Co-director of the Astoria Music Festival Vocal Academy. As a soloist, Mr. Small has appeared in concert with The Milwaukee Symphony, Louisville Symphony Pops, St. Louis Symphony, Cincinnati May Festival, Fort Wayne Philharmonic, Rochester Philharmonic, Canton Symphony, Missouri Symphony, and Bravo! Colorado Music Festival. He made his Carnegie Hall debut in the Lord Nelson Mass and Schubert Mass in G with conductor John Rutter.