Since 2002, Michael’s supertitles have been utilized in over 900 productions with organizations spanning nearly all 50 states and four continents. Some of his  more than 250 clients include Opera Philadelphia, Los Angeles Opera, New Orleans Opera, Atlanta Opera, Scottish Opera, The Philadelphia Orchestra, North Carolina Opera, the Spoleto Festival USA, and the Symphony Orchestra of India.

Michael has created groundbreaking supertitle sets for musically intricate new works such as John Luther Adams’s Vespers of the Blessed Earth, Hannibal Lokumbe’s  Healing Tones, and modern operas with unusual supertitle needs such as p r i s m  for Los Angeles Opera and Elizabeth Cree for Opera Philadelphia. His scene program compilations have been used by such distinguished artists as Placido Domingo and Renée Fleming. Michael’s titles have appeared in many digital operatic streaming presentations.

Photo by Mary Quinn

Michael’s stage direction experiences have included many operas such as Don Giovanni , La Cenerentola,  L’Elisir d’Amore,Carmen, Falstaff , Le nozze di Figaro,  Don Pasquale, Gianni Schicchi , Amahl and the Night Visitors,  The Impresario, Trouble in Tahiti , The Old Maid and the Thief, and  Le Villi. He has also served as Assistant Stage Director in productions of La Cenerentola  and Faust at Opera San José,  The Merry Widow at Houston Grand Opera, and Falstaff  at Opera North. He spent decades singing in opera choruses on multiple continents, including many years as a core member of The Dallas Opera Chorus.

Michael attended Westminster Choir College, and holds a Master’s in Music Theory from Stephen F. Austin State University.

Supertitles are a critically important part of making a quality connection with your audience. If they aren’t invested in what is happening on stage, they’re less likely to be invested in your company. Modern supertitles should accompany the feel of the action, using current technological advances to provide dramatically sensitive transitions from one slide to the next.