EDITOR-IN-CHIEF

David Salazar is the Editor-in-Chief for OperaWire and is one of its co-creators. He is in charge of managing the team, organizing coverage, and editing content in addition to writing reviews and interviews. He also heads the weekly Opera Meets Film articles and Opera Quizzes.

PUBLISHER

Francisco Salazar is OperaWire’s lead publisher and co-creator. His focus is on daily news articles and interviews, as well as managing OperaWire’s social media channels.

MANAGING EDITOR

UX and Product Designer, Economist, and Opera Journalist from Lithuania. Polina Lyapustina joined OperaWire in 2018 with her opera reviews. In 2019, she started to focus on Editorial content, concentrating on the social, ethical, economical, and political aspects of the opera industry. In 2020, Polina kicked off her Criticisms on Fridays series.

Logan Martell has been with OperaWire since 2017. He initially started off covering the general news, but is now focused on reviews and interviews in New York City.

Christopher Ruel started with OperaWire in 2018 and has profiled artists such as Kathryn Lewek, Erin Morley, Stephen Costello, Christine Goerke, Susan Graham, and Zachary James. His work also includes stage reviews and general news.

Alan Neilson has been with OperaWire since 2017 and has been a major fixture in providing reviews and interviews throughout Europe, with an emphasis on Italian opera houses as well as such festivals as the Wexford Festival and the Innsbruck Early Music Festival, among others.

Originally a graduate in Economics, he went on to study a further degree in Opera Studies, qualifying with First Class Honours.

Jennifer Pyron covers a wide range of opera performances and performers in the New York Opera scene.

Matt Costello’s work — across all media — has meshed story, gameplay and technology.

Gordon Kalton Williams is an Australian-born librettist based in Los Angeles. Among his credits are the epic, “Journey to Horseshoe Bend” (with composer, Andrew Schultz) and new dialogue for the Sydney Symphony Orchestra’s revival of Australia’s first opera, 1847’s “Don John of Austria”.

John Carroll’s life-long affinity for classical vocal music began in high school. He earned an MFA from Temple University and has performed leading roles in regional productions of everything from Shakespeare and Shaw to Sullivan and Sondheim, as well as singing bass in major works of Bach, Brahms, and Britten with Seattle Pro Musica. He is an avid record collector with a specialization in soprano recital discs from all over the world, thousands of which are featured on his website Vinyl Divas, with hundreds of sound clips on his YouTube channel: songbirdwatcher. John has contributed articles and reviews for several online opera forums, and in another life was a marketing writer for a leading brand communications firm.