. . . with a striking brightness that thrills" (Opera Today), American baritone Shea Owens is quickly gaining a reputation as a confident and charismatic performer. In the 2017-2018 season Mr. Owens will perform Marcello in La Bohème at Theater St. Gallen in Switzerland, Charlie in Three Decembers opposite Frederica von Stade with Livermore Valley Opera, and Carmina Burana with the Altoona Symphony in Pennsylvania.

Mr. Owens’ 2016-2017 season saw a return to Europe, performing Marcello in La bohème with the Grand Théâtre de Genève in Switzerland, the role of Egisto in Vittorio Gnecchi’s rarely heard opera Cassandra with Teatro Gratticielo in New York City, and the role of Kynaston in Carlisle Floyd’s The Prince of Players with the Little Opera Theatre of New York. In the summer of 2017, Shea Owens returned to Wolf Trap Opera as the title role in John Musto’s Bastianello and Pacuvio in Rossini’s La pietra del paragone.

His 2015-16 season included his European debut as Colonel Ricci in Sondheim’s Passion with Natalie Dessay at Théâtre du Châtelet, Junius in The Rape of Lucretiawith Wolf Trap Opera, a return to Utah Opera for his role debut as Cascada in The Merry Widow, as well as a duo recital with Dina Kuznetsova entitled “From Russia to Riverside Drive: Rachmaninoff and Friends” under the auspices of the New York Festival of Song and New York Philharmonic.

In addition to operatic and concert work, Mr. Owens also enjoys doing community outreach. He performed hundreds of shows for school children as a young artist with Utah Opera from 2012-2014. One of his most memorable outreach concerts was in 2016 in collaboration with Wolf Trap Opera and Taffity Punk Theater Company in order to raise awareness about violence against women.


"A Full Moon in March] has plenty of high tension and occasionally melodic vocal writing, which . . . Shea Owens, as the Swineherd . . . mastered completely."
–Allan Kozinn, The New York Times
"Shea Owens, though still a young man, seemed to walk onto the stage an artist fully formed; perhaps even a star. He exuded confidence and charisma that put the audience immediately at ease, and unfurled a handsome baritone with a shining top."
Eric Myers, Opera News 
The title role of Puccini’s opera Tosca, a pious yet fiery diva, is greatly suited to sopranos. In 1964, Maria Callas anchored the role at London’s Royal Opera HouseThe role demands a melodramatic soprano who excels in both singing and acting. Ushakova fits the bill perfectly. Her theatrical presence and flawless singing captivated the audience

- Daily China