Praised for her ability to “wow the audience with her nuance and sturdy yet supple lyricism”, Colombian American soprano Vanessa Vasquez has regularly appeared on opera stages throughout North America and recently made her European debut as Micaëla in Carmen with Oper im Steinbruch. In the current season, Vasquez joins the roster of the Metropolitan Opera to cover Donna Anna in Don Giovanni. Other recent performances include the title role of Daniel Catán’s Florencia en el Amazonas with North Carolina Opera, after appearing with the company in the previous season as Violetta in La traviata, Donna Anna in Don Giovanni for Arizona Opera, Nuria in Ainadamar for Detroit Opera, and Micaëla for Washington National Opera. Vasquez was a winner of the 2017 Metropolitan Opera National Council Auditions and has been recognized by the Richard Tucker Foundation with both a Sara Tucker Study Grant and a Richard Tucker Career Grant.

Vasquez has also appeared for return engagements with The Santa Fe Opera to sing the Countess in a new production of Le nozze di Figaro and Arizona Opera to sing her first performances of Micaëla, reviewed by The Washington Post for being “one of the evening’s vocal highlights, her voice a bright beam from the stage.” Vasquez made her debut with the Canadian Opera Company in the role of Liù in Turandot and with Washington National Opera singing her first performances of Donna Anna in Don Giovanni. Previously, she debuted with Arizona Opera and North Carolina Opera as Violetta in La traviata, and with The Santa Fe Opera and Opera Philadelphia, both as Mimi in La bohème.

She made her professional opera debut in summer 2017 as Liù in Turandot with Des Moines Metro Opera. On the concert stage, she debuted with the Philadelphia Orchestra in J.S. Bach’s cantata Nach dir, Herr, verlanget mich and with the New York Choral Society in Haydn’s Lord Nelson Mass. She made her debut with the New York Philharmonic as soprano soloist in Beethoven’s Choral Fantasy, and she was soprano soloist in Honegger’s King David and Poulenc’s Gloria with Voices of Ascension. She was a featured soloist with the Philadelphia Orchestra under Yannick Nézet-Séguin in the Academy of Music 160th Anniversary Concert and Ball.

Hailed by the Boston Globe as “balmy-voiced” and for her “uniformly excellent” performances, mezzo-soprano Katherine Beck returns to Opera Colorado for these performances of Dorabella in Così fan tutte. Also this season, she makes her role debut as Adalgisa in Norma with Madison Opera and sings Handel’s Messiah with the Santa Fe Symphony. Last season, she returned to singing Marquise Melibea in Il viaggio a Reims with Opera Philadelphia and Angelina in La Cenerentola with Arizona Opera.

Her other recent performances include Rosina in Il barbiere di Siviglia with Minnesota Opera and Florentine Opera; Dorabella in Così fan tutte, Elizabeth Lavenza in Kallor’s Frankenstein, Cherubino in Le nozze di Figaro, Flora in La traviata, and Mary Johnson in Spears’ Fellow Travelers with Arizona Opera; Isabella in L’inganno felice with the Opera Festival of Chicago; Lola in Cavalleria rusticana with the Saint Louis Symphony Orchestra; Myrrhine in Adamo’s Lysistrata with Odyssey Opera; and Sesto in Giulio Cesare with Pittsburgh Festival Opera. Whilst in the Ryan Opera Center of the Lyric Opera of Chicago, her performances included Wellgunde in Twilight: Gods, a reimagining of Der Ring des Nibelungen and excerpts of the title role of Carmen in concert. She is also a former Resident Artist of Opera Colorado, and while with the company, created the role of Lisette in Cohen’s Steal a Pencil for Me and sang her first performances of Angelina in La Cenerentola in outreach performances.

Her concert performances include Handel’s Messiah with Nashville Symphony and Florida Orchestra, Mendelssohn’s Elijah as a guest artist at Williams College, and Mozart’s Requiem as a guest artist at Scripps College. In the crossover realm, she joined the Boston Pops at both Symphony Hall and Tanglewood for Sondheim and Lapine’s Sondheim on Sondheim.

Praised for his “plangent timbre,” David Walton dazzles stages across the country to critical acclaim as a versatile lyric tenor to watch. A favorite tenor of bel canto, Mr. Walton has established himself in roles such as Ferrando in Mozart‘s Così fan tutte, Tonio in Donizetti‘s La fille du régiment, and Almaviva in Rossini‘s Il barbiere di Siviglia. As Ernesto in Don Pasquale with Minnesota Opera, his voice was described as “the sweetest singing of the evening…a lyric tenor with strong Italianate stylings,” (Star Tribune).

In the 2025-2026 Season, Mr. Walton returns to Toledo Opera in his role début as Nemorino in L’elisir d’amore. He is also pleased to return to Virginia Opera as Ramiro in La Cenerentola, where his début in the same role was hailed as “smooth, lyrical, and capable of scaling the heights” (Virginia Pilot). Additionally, he returns to Opera San Antonio, reprising his role as Tamino in Barry Kosky’s production of Die Zauberflöte, and will bring his celebrated Almaviva in Il barbiere di Siviglia for a hometown company début with Nashville Opera. On the concert stage, he will début with Virginia Symphony Orchestra in their Messiah. In the 2024-2025 Season, Mr. Walton brought his Almaviva to Minnesota Opera and Madison Opera and débuted with the South Florida Symphony in their staged Candide. Additionally, he made his role début as Don Ottavio in Don Giovanni with Livermore Valley Opera, where San Francisco Classical Voice praised him for his, “sweet tenor [that] also had the sturdiness needed for Ottavio’s more forthright moments.”

Other operatic credits include Frederic in The Pirates of Penzance, Filippo in Haydn’s L’ infidelta delusa, Acis in Handel‘s Acis and Galatea, and Belmonte in Die Entführung aus dem Serail with such companies as Cincinnati Opera, Opera San Antonio, Kentucky Opera, Virginia Opera, Opera Delaware, The Glimmerglass Festival, and Opera Theatre of Saint Louis.

David has sung multiple new works and world premieres throughout the country including Tom in the world premiere of Companionship by Rachel Peters with Fort Worth Opera, Younger Thompson in Glory Denied with Union Avenue Opera, and Delbert Grady in the world premiere of Paul Moravec and Mark Campbell’s The Shining with Minnesota Opera, as well as the remounted production with Opera Parallèle directed by Brian Staufenbiel, and Miles in Missy Mazzoli’s Proving Up with Journey North Opera.

An accomplished concert soloist, David recently made his Carnegie Hall debut as tenor soloist in Mozart’s Vesperae solennes de Confessore, and has appeared as the tenor soloist in Handel’s Messiah with Pacific Symphony, Columbus Symphony Orchestra, the Indianapolis Chamber Orchestra, South Dakota Symphony Orchestra and Atlanta Symphony Orchestra, and others, in addition to Rossini’s Stabat Mater, Mozart’s Requiem and Mass in C minor, Mendelssohn’s Lobgesang, Orff’s Carmina Burana, and Beethoven’s Mass in C. He has distinguished himself in the many works of J.S. Bach including Magnificat, St. John Passion, St. Matthew Passion, and numerous Cantatas, of which his solo in BWV 80 with the Atlanta Symphony Orchestra under the baton of Robert Spano was hailed as a “vocal standout” and “right down the traditional line of a fine Bach tenor” by ARTS ATL.

David is a 2017 Sullivan Grant Winner with the William Matheus Sullivan Foundation. He won 2nd Place and Italian Diction award in both the Marcello Giordani Foundation International Vocal Competition and Opera Birmingham Vocal Competition. Other competitions include a finalist in the 2021 concours de chant with Opéra Clermont Auvergne in France, District Winner in Minnesota for the Metropolitan Opera National Council Auditions and third place in the 2021 International Vocal Competition with the Rochester Oratorio Society.

Praised for “the easy caramel syrup of his voice” (Opera Today), Mexican-American baritone Armando Contreras is becoming known for his interpretations of new works and comedic roles, and was recently featured in Opera America’s In the Wings series as a “top emerging singer”. In the 2025-2026 Season, Mr. Contreras joined Opera Columbus to reprise his signature role as Hemingway/Santiago in The Old Man and the Sea, which he will also sing with LA Opera in 2027. He can be heard in this role in Beth Morrison Projects’ upcoming album release of BMP Songbook. He also joined Arizona Opera and Pacific Opera Project to sing Sergeant José María Gomez and cover Moncada in Zorro, and returned to Kentucky Opera to sing Don Andres in Songbird. Next season, Mr. Contreras returns to the role of Sergeant José María Gomez in Zorro with Utah Opera and sings as Guglielmo in Opera Colorado’s Così fan tutte.

In the 2024-2025 season, he returned to Pacific Opera Project in the title role of Antonio Cagnoni’s Don Bucefalo, which was lauded by the Los Angeles Times as “one of the performances of the year.” He appeared as Figaro in Il barbiere di Siviglia with Opera Las Vegas, and sang as the baritone soloist in Brahms’ Ein deutches Requiem with the Larimer Chorale. He also joined Central City Opera as Lt. Roberto Gonzalez in The Knock and the Crested Butte Center for the Arts for concerts as Guglielmo in an abridged version of Così fan tutte. Mr. Contreras recently made his company debut with Cincinnati Opera as Lt. Roberto Gonzalez in the stage premiere of The Knock, a role he first performed with the Glimmerglass Festival in 2021 and will also sing this season with Art Song Colorado. He also sang Hemingway/Santiago in the world premiere of The Old Man and the Sea with Beth Morrison Projects at Carolina Performing Arts and ASU Gammage. His recent portrayal of Older Thompson in Glory Denied with the Cleveland Institute of Music met glowing reviews – Cleveland Classical writes: “Contreras’s gripping performance fully realized Older Jim’s pain and confusion.” He sang the roles of Zazueta and Moncada in excerpts from Zorro with Arizona Opera as well as Cesar Chavez in a workshop of Dolores with West Edge Opera. He also sang a series of “tight and perfect” Dandinis in La Cenerentola with Kentucky Opera, Tri-Cities Opera, Syracuse Opera and Salt Marsh Opera (Arts-Louisville).

In 2022, Mr. Contreras sang a lead role in the world premiere of the Rossini pastiche Tenor Overboard with the Glimmerglass Festival. Highlights of recent seasons include his company debut as Moralès in Carmen and Papageno in The Magic Flute with Salt Marsh Opera, both of which he covered during his time with the Glimmerglass Festival, Diego Rivera in Frida and the Bravest Girl in the World  (Central City Opera, Opera Steamboat), The King/Rat in The Three Feathers (Opera Steamboat), and his Denver Philharmonic debut as Belcore in L’elisir d’amore.  Mr. Contreras also sang Ernesto in the US premiere of Bizet’s Don Procopio and Filippo in Rossini’s La gazzetta with Pacific Opera Project, Il Conte in Le nozze di Figaro and Marcello in La bohème (Boulder Opera), Ben in The Telephone (Opera Fort Collins), and Estaban in En Mis Palabras and Le Dancaïre in Carmen (Central City Opera). With Lyric Opera of Kansas City, he sang Imperial Commissioner in Madama Butterfly, the Herald in Rigoletto, and Fiorello in Il barbiere di Siviglia, and he covered Guglielmo in Così fan tutte and Doug Hansen in Everest.

Equally comfortable in concert repertoire as on the opera stage, he performed as the baritone soloist in Brahms’ Requiem with Omaha Symphony last season and recently appeared in recital with Colorado State and Pikes Peak Opera League.  He has performed as the bass soloist in Handel’s Messiah with the Missouri Oratorio Society and as the baritone soloist in Orff’s Carmina Burana with the Kansas City Ballet, and appeared as Papageno in a concert featuring operatic selections by Mozart with The Cleveland Orchestra and the Colorado Symphony.

Mr. Contreras has had training at The Glimmerglass Festival, Des Moines Metro Opera, Lyric Opera of Kansas City, and Central City Opera. Accolades from the vocal competition circuit include the Top Prize after completion of the Central City Young Artist Program, being named a finalist in the 2020 Kyrenia Opera Vocal Competition and regional winner in the 2019 Dorothy Lincoln Smith Voice Competition. Mr. Contreras holds a Bachelor’s degree in Voice Performance from the Cleveland Institute of Music and a Master’s degree in Voice Performance from the University of Missouri-Kansas City.

Peruvian & Mexican American Soprano Vanessa Becerra’s 25/26 season includes a debut at the Seattle Opera for The Pirates of Penzance (Mabel) and Fellow Travelers (Miss Lightfoot) and a return to Chicago Opera Theater for Salieri’s Falstaff (Mistress Ford). On the concert stage, Vanessa debuts with Collaborative Arts Institute of Chicago in an art song recital.

Vanessa’s last season was highlighted by her return to LA Opera for Ainadamar (Nuria). Additional engagements included her house and titular role debut in Paër’s Leonora at Chicago Opera Theater, and debuts at UC Davis in Don Pasquale (Norina), Berkshire Opera Festival in La traviata (Violetta) and Sacramento Philharmonic & Opera in Le nozze di Figaro (Susanna). On the concert stage, Vanessa debuted with Madison Symphony Orchestra as a guest soloist for their holiday concert, Chamber Music Society of Lincoln Center for their Spanish Journey program on tour, and the Boise Philharmonic as the Soprano Soloist in Mozart’s Requiem.

In the 23/24 season, Vanessa was a featured soloist at Fort Worth Opera’s annual gala, debuted with Sacramento Philharmonic & Opera in Die Fledermaus (Adele) and returned to Opera Omaha for Don Pasquale (Norina), Minnesota Opera for L’elisir d’amore (Adina), Arizona Opera for Don Giovanni (Zerlina), and Opera Theatre of Saint Louis for Galileo Galilei (Maria Celeste/Eos). On the concert stage she debuted with The Phoenix Symphony for Messiah. In the 22/23 season, she made debuts with Florida Grand Opera for El matrimonio secreto (Carolina), and Opera Theatre of Saint Louis for Così fan tutte (Despina) along with returns to Minnesota Opera for La fille du régiment (Marie), Opera Omaha for Le nozze di Figaro (Susanna), and Houston Grand Opera for El Milagro del Recuerdo (La Mujer). On the concert stage, she debuted with the newly formed San Antonio Philharmonic.

Recent highlights include returns to Washington National Opera for Sankaram’s Rise (Alicia Hernández), Opera San José for the title role in Il segreto di Susanna by Wolf-Ferrari, following her success at Opera San Jose as the title role in Alma Deutscher’s Cinderella (featured internationally on Medici.tv) conducted by Jane Glover, and Francesca Zambello’s West Side Story (Maria) with Lyric Opera of Kansas City, The Glimmerglass Festival, and Atlanta Opera.

Vanessa debuted at The Metropolitan Opera in Cendrillon (Noémie), Boston Lyric Opera in Roméo et Juliette (Juliette), Intermountain Opera Bozeman in Il barbiere di Siviglia (Rosina), Austin Opera in Fidelio (Marzelline), Opera Parallèle in La Belle et la Bête (Belle), Houston Grand Opera in the world premiere of El Milagro del Recuerdo (La mujer), Washington National Opera in Don Giovanni (Zerlina), Lyric Opera of Chicago in Fellow Travelers (Miss Lightfoot), Opera Delaware and Baltimore Concert Opera in Werther (Sophie), Opera Omaha in Medea (Glauce), Atlanta Opera in Sweeney Todd (Johanna), and Arizona Opera for the feature length film adaptation and world premiere of The Copper Queen (Julia Lowell). She also has debuted with the Los Angeles Philharmonic under the baton of Gustavo Dudamel in Die Zauberflöte (Papagena), San Francisco Symphony with Michael Tilson Thomas in Candide (Paquette).

Ms. Becerra is a graduate of the Young Artist Program at the Los Angeles Opera. During her time with LAO, she appeared in Le nozze di Figaro (Barbarina), Die Zauberflöte (Papagena), La traviata (Annina), Gossip 2 in the GRAMMY Award-winning recording of Corigliano’s The Ghosts of Versailles, and as a featured soloist in a concert with bass-baritone Erwin Schrott. Vanessa enjoys a long relationship with The Glimmerglass Festival where she has been seen in Oklahoma! (Laurey), La bohème (Musetta), and in their Young Artist performances of The Magic Flute (Pamina). Other training programs include Wolf Trap Opera Company, Des Moines Metro Opera, and Seagle Music Colony. She received her master’s degree from The Boston Conservatory, her bachelor’s degree from Texas Christian University in her hometown of Fort Worth, TX and is a graduate of the Fort Worth Academy of Fine Arts.

Stefano de Peppo was born in Italy and began his career as a boy soprano at Teatro alla Scala in Milan. He is known for his powerful bass-baritone, his crisp diction, and his skills as a singing actor. He mostly specializes in roles of the traditional “buffo” style of the Italian repertory of the eighteenth and nineteenth centuries. His roles in Don Giovanni (Leporello), The Barber of Seville (Bartolo), The Marriage of Figaro (Bartolo), the title role in Don Pasquale, The Italian Girl in Algiers (Mustafa), The Daughter of the Regiment (Sulpice), Tosca (Sacristan), the title role in Gianni Schicchi, La bohème (Alcindoro and Benoît), The Secret Marriage (Geronimo), The Elixir of Love (Dulcamara), and Così fan tutte (Don Alfonso) have been a great success in most theaters of the USA, Spain, Mexico, Colombia, Israel, Italy, Germany, England, and France. Recently, he took part in the premiere of the new opera Tenor Overboard (Petronio) by Ken Ludwig/Gioachino Rossini, directed by Francesca Zambello, which was a great hit at Glimmerglass Festival. He made his debut at Opera Colorado in 2019 in The Marriage of Figaro (Bartolo) and returned in 2021 for Tosca (Sacristan).

Brenna Corner is an international opera and theatre stage director working across the United States, Canada, and Europe. She is also the Artistic Director of Pacific Opera Victoria in British Columbia, Canada.

Select directing projects include: Macbetto & Il trovatore (Washington National Opera); Pagliacci (Glimmerglass Festival); The Little Prince(Pacific Opera Victoria); H.M.S Pinafore & L’elisir d’amore (Vancouver Opera); Carmen (Des Moines Metro Opera); Don Giovanni (Seattle Opera); Hansel and Gretel (San Diego Opera & Vancouver Opera); La bohème (Calgary Opera); Dead Man Walking (The Israeli Opera); La bohème (The Dallas Opera); Noye’s Fludd & Scalia/Ginsburg (Glimmerglass Opera); Sweeney Todd (New Orleans Opera); Der fliegende Holländer (Cincinnati Opera & Houston Grand Opera); and Carmen (The Atlanta Opera).

She was the founding Artistic Director of Manitoba Underground Opera, which produces a festival of new operatic experiences each August in Winnipeg. She has also worked as a dramatic coach for training programs including The Washington National Opera Cafritz Young Artist Program in Washington D.C.

Brenna made her directorial main stage debut in 2016 with a new production of Hansel and Gretel designed by the Old Trout Puppet Workshop for Vancouver Opera. This production has since toured North America and was mostly recently produced for San Diego Opera as part of their 2019-20 Season. She made her American directorial debut in February of 2017 with New Orleans Opera, creating a new production of Sweeney Todd, The Demon Barber of Fleet Street.

During the COVID-19 pandemic she created new opera experiences through film including Don Giovanni for Seattle Opera, Carmen: Up-Close and Personal for Vancouver Opera, Dear Mom: a web series for Kentucky Opera and Green Envelopes for Manitoba Underground Opera.

Brenna was a member of the Yulanda M. Faris Young Artist Program with Vancouver Opera and spent two years as the resident director for The Atlanta Opera Studio Artist Program. She is a certified member of Fight Directors Canada and has choreographed many fights for both opera and theatre.

She studied classical music at The University of Manitoba, and she has diplomas in theatre from Grant MacEwan College and The British American Drama Academy.

Appointed in 2015 as Opera Colorado’s first-ever music director, Ari Pelto’s “breathtaking wizardry in the pit” (The Denver Post) has been widely celebrated, with Pelto in demand at opera houses and concert halls throughout the United States. At the age of 24, Pelto was appointed Assistant Conductor at the Spoleto Festival and he has since gone on to conduct worldwide. International engagements include performances with Bochumer Philharmoniker and opera productions at New National Theatre of Tokyo and the Teatro Nacional Sucre in Quito, Ecuador. In 2004 he made his highly-praised debut with New York City Opera, conducting La Traviata, after which he became a regular, returning for productions of Madama Butterfly, La bohème, and Carmen. Recent successes include Eugene Onegin at Lyric Opera of Kansas City, Lucia di Lammermoor at Virginia Opera, and La Voix Humaine at Chicago Opera Theater.

Iranian conductor and pianist, Sahar Nouri, has been Music Director of Lamont Opera Theater at University of Denver since 2019. She has also served at Opera Colorado as Chorus Master & Assistant Conductor since 2016. Ms. Nouri is the founder/director of Dandelion Opera Institute.

At the University of Denver, Ms. Nouri has conducted productions of A Midsummer Night’s Dream, Die Zauberflöte, Alcina, Cabildo, Les mamelles de Tirésias, and The Little Prince.

Her work with Opera Colorado has included productions of Samson and Delilah, The Flying Dutchman, Don Giovanni, Turandot, Die tote Stadt, Rigoletto, Carmen, The Shining, Tosca, Cavalleria rusticana, Pagliacci, The Marriage of Figaro, La traviata, Falstaff, The Barber of Seville, La bohème, La fanciulla del West, and the world premiere of Steal a Pencil for Me (Gerald Cohen).

Previously, Ms. Nouri has been part of the music staff at San Francisco Opera, Houston Grand Opera, Dallas Opera, Philadelphia Orchestra at Bravo! Vail, Opera Parallèle, Opera North Carolina, Glimmerglass Festival, Utah Opera, Aspen Opera Theatre, Opera Steamboat, Merola Opera, Boston Conservatory of Music, and San Francisco Conservatory of Music.

An active performer, she has given numerous recitals around the US including those alongside international stars Mane Galoyan, Heidi Melton, and Matthew Polenzani. A multi-lingual coach, she has studied in Czechia, Italy, and Austria and is frequently in demand as a language coach.

Ms. Nouri is a former violinist who has performed with Tehran Philharmonic Orchestra and has won several prizes, for both violin and piano, in national music festivals and competitions in Iran.

Connie is pleased to make her house debut at Opera Colorado. Recent opera designs include The Barber of Seville (Madison Opera), Pelleas and Melisande (Des Moines Metro Opera), Salome (DMMO), Maria de Buenos Aires (Florentine Opera), Madama Butterfly (Philadelphia Opera), L’Allegro, il Penseroso, ed il Moderato (Curtis Opera Theatre), The Marriage of Figaro (Portland Opera and New Orleans Opera), and The Royal Shepherd (Orpheus PDX). Recent theatre credits include Dial M for Murder (Village Theatre), Blithe Spirit (Seattle Rep), P.O.T.U.S., STEW, and The Case for the Existence of God (ACT Contemporary Theatre). Her designs have also been seen at Kentucky Opera, Hawaii Opera Theatre, Palm Beach Opera, Canadian Opera Company, Alliance Theatre, Merrimack Rep, Seattle Children’s Theatre, and The Fifth Avenue Theatre. Upcoming projects include The Elixir of Love (New Orleans Opera), Tosca (Seattle Opera), The Rake’s Progress (DMMO), and La bohème (Madison Opera). Connie is a member of USA-829 and a mentor with ETC Fred Foster Mentorship Program.

Ronell Oliveri has been designing wigs and makeup for opera, theater, ballet, and film for the past 20 years for such companies as Minnesota Opera, Boston Lyric Opera, Central City Opera, and The American Repertory Theater at Harvard University. Currently she is the resident wig and makeup designer for Opera Colorado and Opera Omaha. As a wig and makeup artist her professional credits include engagements with Chicago Lyric Opera, LA Opera, Santa Fe Opera, Opera Theater of Saint Louis, and Boston Ballet. She was a Primetime Emmy nominee as key makeup artist for her work in television. Her work can also be seen in several Broadway shows including Wicked, All the Way, and Waitress. Recent engagements include Opera Columbus’s Eugene Onegin, Pacific Symphony’s La bohème, and Central City Opera’s 2024 summer festival. Upcoming engagements include Opera Omaha’s The Rake’s Progress and Boston Lyric Opera’s Mitridate.

Madison Booth earned her MFA in costume design at the University of Maryland, College Park, and moved to Colorado in 2021. Madison is currently the Assistant Costume Coordinator for Opera Colorado as well as a freelance costume designer. Her work on operatic design includes Gianni Schicci, Proving Up, and La bohème with Opera Steamboat, and Otello (principal costumes) with Central City Opera. Her work has been seen in Colorado theatrical designs such as Cinderella with the Arvada Center, Amerikin with Curious Theatre Company, Rent with the University of Denver, Little Women with Theatreworks UCCS, The Rocky Horror Picture Show with Phamaly Theatre Company, and Fourteen Funerals with BETC. Madison has also designed for short films as well as being the resident stylist for the music and outreach group Electric Root.