Darío Peñaloza is a Venezuelan Sound Engineer with a 43-year career, graduated from the Institute of Audio Research and the Recording Institute of America in New York. He graduated with honors from Fanshawe College of Applied Arts in Ontario, Canada, in 1983. He has dedicated his career primarily to music, both in the studio and live, in addition to working on dubbing in the Spanish language. His work as a Mixing Engineer has led him to be the winner of a Latin Grammy for
Engineering in 2014 (C4 Trío/Rafael Pollo Brito - De repente) and Instrumental in 2018 (Miguel Siso - Identidad).

At the same time, since 2015, he has been a teacher at several Academies dedicated to Audio in Latin America and is an active member of AES (Audio Engineering Society) in the region. In August 2020, he published his first book, “THE HUMAN SIDE OF AUDIO, beyond the technical and theoretical”. He has been the image of brands like Genelec and Steinberg for some years.

Since mid 2022, he has resided in Mexico City.

CAMERON ANDERSON (Scenic Design) is an internationally acclaimed American scenographer and has designed extensively at the world's leading theatre and opera companies. She recently won the Billie Tsien Rome Prize in Design, one of the most prestigious awards an American artist can receive. Recent projects include The Light in the Piazza at Opera Theater of St. Louis, popstar Charlie Puth's North American and international tours, Leonora (Chicago Opera Theater), the world premiere opera RUR: A Torrent of Light (Tapestry Opera, Toronto), which won the Best New Opera in North America award (MCANA), and the past two full seasons at The Academy of Vocal Arts in Philadelphia. Other recent highlights include West Side Story (Kilden Performing Arts Center, Norway, Vancouver Opera), and Simon Boccanegra (Teatro Colon, Argentina), Byhalia Mississippi (The Kennedy Center), The Niceties (Manhattan Theatre Club), Yerma, Becoming Cuba, and Sweat (Huntington Theater), Fille du Regiment, The Consul, Vinkensport, The Merry Widow, and Rocking Horse Winner  (Opera Saratoga), and Photograph 51 (South Coast Repertory). Select opera credits include Glimmerglass Festival, San Francisco Opera, Seattle Opera, Central City Opera, Minnesota Opera, Gotham Chamber Opera, and On Site Opera. Select Off-Broadway credits include Roundabout Theatre Company, Playwrights' Horizons, New Georges, LAByrinth Theater Company, Naked Angels, Ars Nova, and Brooklyn Academy of Music. Upcoming projects include Falstaff at The Minnesota Opera, the full season of operas at The Academy of Vocal Arts, and Orlando Paladino at The Curtis Institute. cameronanderson.net

Nick Puckett explores the near-future of the built environment through new tools and technologies that alter the process and product of design. He is an Associate Professor in the Digital Futures Program at OCAD University, where he also serves as Co-Director of the Social Body Lab. He is the founding director of Puckett Research & Design, a practice that develops interactive environments spanning software, robotics, biological agents, chemical engineering, and material behaviour.
His work has been exhibited internationally at venues including the Venice Architecture Biennale, Shenzhen Biennale of Urbanism & Architecture, International Biennial of Contemporary Art of Seville, Art Institute of Chicago, ZKM Museum, FRAC Centre, and the United Nations Climate Change Conference.

Nathan is a Toronto based Projection and Lighting Designer and New Media Artist. Recent theatre credits include Orpheus in the Underworld (Projection and Lighting Design, Toronto City Opera), Parelios (Projection Design, Opera5), Canuck Cantatas (Projection and Lighting Design, Against the Grain), Copperbelt (Associate Lighting Design, Soulpepper), Rogers V. Rogers (Video Design, Crows Theatre & touring production), Tapestry Briefs (Lighting Design, Tapestry Opera), Feed-Back (Co-Projection Design, The Bentway), Octet (Video Design, Crows Theatre); Natasha, Pierre, and the Great Comet of 1812 (Video Design, The Royal Alexandra Theatre); The Tender Land (Projection Design, Al Green Theatre), Reina (Lighting Design, Buddies In Bad Times Theatre), Shedding Skin (Associate Lighting Design, Buddies In Bad Times Theatre), and Die Zauberlote. Recent installation/exhibition credits include Try To Forget (Artist, St. Anne’s Anglican Church, Long Winter); After The Flood (Co-Artist, Charles Street Video); Love Across Distance (Co-Artist, The ArQuives, Nuit Blanche 2024).

Annie Jin Wang is a dramaturg and generative artist for new plays, musicals, and opera. Notable credits include Rodgers and Hammerstein’s FLOWER DRUM SONG with a new book by David Henry Hwang, HILDEGARD by Sarah Kirkland Snider (NY Times Critics' Pick), LEGENDARY by Cheeyang Ng (Relentless Award Finalist), and SALESMAN之死 by Jeremy Tiang (Obie Award). She is a frequent collaborator with Beth Morrison Projects, Musical Theatre Factory, the O’Neill National Playwriting & Musical Theatre Conferences, and the Playwrights’ Center. Annie is the Associate Artistic Director at East West Players in Los Angeles, where she leads new work and artistic development programs. Previously, she served as Associate Director for Artistic Programming at PlayCo and taught at BerkleeNYC and Marymount Manhattan College. Annie holds an MFA in Dramaturgy from Columbia University School of the Arts and BAs in Art History & Cinema and Media Studies from Wellesley College. wang-annie.com 

Mahsa Vahdat is an internationally acclaimed and celebrated Iranian singer, musician and cultural advocate whose voice has become a powerful symbol of artistic freedom. Since the 1979 Islamic Revolution in Iran, women have been prohibited from singing solo in public. For more than three decades, Vahdat has challenged these restrictions through her artistic work, carrying the silenced voice of Iranian women onto the world stage. Deeply rooted in the rich tradition of Persian classical music, her artistry transcends borders through an innovative blend of classical and regional Iranian music, poetic lyricism, and contemporary expression. Over the years, she has cultivated a distinctive vocal style that both honors tradition and explores new musical landscapes. Widely recognized as one of the leading voices in world music, Mahsa Vahdat continues to create work that connects cultures, preserves heritage, and gives voice to the enduring human longing for freedom, beauty, and belonging.

Stephanie Fleischmann is a librettist and playwright whose writing serves as a blueprint for intricate three-dimensional sonic and visual worlds. Her “lyrical monologues” (New York Times) and “prescient” (Whole Note), “finely tuned” (Opera News) libretti, plays, and music-theater works have been seen/heard across the U.S. and internationally.
A 2026 Guggenheim Fellow and a recipient of Opera America’s Campbell Librettist Prize, she has been commissioned by Santa Fe Opera, Chicago Lyric, Houston Grand Opera, Wien Modern, Ensemble MusikFabrik, LA Opera, Chicago Opera Theater, West Edge Opera, among others. Notable works: In a Grove (Christopher Cerrone; NY Times “Best Classical Music Performances of 2025”),Medea (Michael Hersch), Remedios Varios (Carlos Carrillo), The Pigeon Keeper (David Hanlon). 
Selected grants/residencies/fellowships: National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Venturous Theater Fund, Map Fund, New Dramatists, Macdowell, American Lyric Theater, Tennessee Williams and Howard Foundation Fellowships.

Christine Bae is a Toronto-based collaborative pianist and vocal coach specializing in opera and new music. She currently serves as Faculty Pianist at the University of Toronto Opera School. Christine holds degrees and diplomas in piano performance, collaborative piano, and operatic performance (répétiteur) from Chugye University for the Arts, Ewha Womans University, and the University of Toronto.
As a répétiteur and coach, she has collaborated on productions including Madama Butterfly, Pagliacci, and numerous University of Toronto Opera productions, including A Tale of Two Cities, Così fan tutte, Cendrillon, Viva la Mamma, and The Rape of Lucretia. Passionate about contemporary opera, she has participated in workshops and development programs with Tapestry Opera, Highlands Opera Studio, the St. Andrews Opera Répétiteur Workshop, and the Orford Music Academy, contributing to new works such as Melancholia, Indians on Vacation, and Fall River. Her work reflects a commitment to collaborative artistry, vocal coaching, and the creation of new operatic repertoire.

Alexandra Baird is a mezzo-soprano from Chilliwack, British Columbia. A graduate of the University of British Columbia Opera Program, she has performed in opera scenes, recitals, and concert productions throughout British Columbia. Passionate about both performance and education, Alexandra currently teaches voice. In addition to her teaching career, she remains an active performer and is committed to developing her artistry through continued training and collaboration. Alexandra is particularly interested in storytelling and exploring innovative approaches to opera performance. Alexandra is excited to continue growing as a performer, educator, and artist.