Com­ing from the south of France, Max­ence Devaux began his train­ing at the Nation­al Bal­let Con­ser­va­to­ry of Avi­gnon at the age of 8. After a few years of bal­let train­ing, he received his first short con­tract at the age of 18 with the Bal­let of Metz, which toured with oth­er com­pa­nies around Europe. At the age of 20, Max joined the Arles Youth Bal­let Com­pa­ny, direct­ed by Nor­ton Fan­ti­nel and Kari­na Mor­eira. For the next three sea­sons, he became part of impor­tant works by famous chore­o­g­ra­phers such as Craig David­son, Julien Guerin, Kin Sun Chan, Yoel Car­reno, Patrick Del­croix and many oth­ers. Max­ence joined Sacra­men­to Bal­let in 2023.

Since join­ing Sacra­men­to Bal­let in 2023, Max has per­formed many fea­tured roles, such as Prince Desiré in The Sleep­ing Beau­ty, the Nut­crack­er Cav­a­lier in The Nut­crack­er, Drac­u­la in Michael Pink’s Drac­u­la, and Tybalt in Young Soon Hue’s world pre­miere of Romeo and Juli­et. He has also enjoyed work­ing with many oth­er esteemed chore­o­g­ra­phers, such as Ihsan Rustem, Val Cani­paroli, Paul Vaster­ling, and Ma Cong.

Flor­rie Sésé Geller began her pre-pro­fes­sion­al bal­let train­ing under the leg­endary Mar­cia Dale Weary at Cen­tral Penn­syl­va­nia Youth Bal­let. She con­tin­ued her train­ing at Next Gen­er­a­tion Bal­let under the direc­tions of Peter Stark and Philip Neal and on full schol­ar­ship at San Fran­cis­co Bal­let School. At the age of 18, Flor­rie was offered a main com­pa­ny con­tract with Cincin­nati Bal­let where she per­formed roles such as Princess Florine in Devon Carney’s The Sleep­ing Beau­ty, Cygnet in Kirk Peterson’s Swan Lake, the solo role in Jiri Kylian’s Sechs Tanze, and soloist roles in works by Sarah Van Pat­ten, Myles Thatch­er, Sep­time Webre, and Vic­to­ria Morgan.

Flor­rie joined Sacra­men­to Bal­let in 2024 and has since per­formed as Princess Auro­ra in The Sleep­ing Beau­ty, Sug­ar Plum Fairy in The Nut­crack­er, and in works by Amy Hall Gar­ner, Michael Pink, Young-Soon Hue, and Julia Feld­man. She has rep­re­sent­ed the USA at the Bei­jing Inter­na­tion­al Bal­let and Chore­o­graph­ic Com­pe­ti­tion and appeared in galas such as Youth Amer­i­ca Grand Prix’s Stars of Today Meet the Stars of Tomor­row as well as the pre­miere gala of Misty Copeland’s short film, Flower.

Sam Faus­tine, an award win­ning San Fran­cis­co born-and-raised musi­cian and actor, per­forms a wide-vari­ety of gen­res rang­ing from Baroque Opera to Mod­ern Musi­cal The­atre. Last sea­son, he was a mem­ber of the first Nation­al Tour of Broadway’s A Christ­mas Car­ol and made his third appear­ance as a soloist with the San Fran­cis­co Sym­pho­ny per­form­ing the Roast­ed Swan in Carmi­na Burana. In Musi­cal The­atre, Sam has appeared in Europe, Chi­na, and across the US in roles such as Antho­ny in Sweeney Todd, Tony in West Side Sto­ry, Sey­mour in Lit­tle Shop of Hor­rors, Curly in Okla­homa!, and Can­dide in Can­dide. In addi­tion to his staged-per­for­mance career, Sam sings with many Ear­ly Music, Sacred Music and choral ensem­bles across the coun­try, most notably the inter­na­tion­al­ly tour­ing Byrd Ensem­ble. Sam has been part of two GRAMMY Award win­ning projects; Ter­ry Riley’s Sun Rings (Best Engi­neered Album, Clas­si­cal: 2020) and Saariaho’s Adri­ana (Best Opera Record­ing; 2025). When not per­form­ing clas­si­cal music and music the­atre, Sam plays in a QUEEN cov­er band imper­son­at­ing Fred­die Mer­cury. @samfaustinesf and www​.samuelfaus​tine​.com for more!

Native-Amer­i­can (Pit Riv­er and Win­tu tribes) bass-bari­tone Daniel Yoder is a mem­ber of the San Fran­cis­co Opera Cho­rus, Amer­i­can Bach Soloists, and the Phil­har­mo­nia Baroque Orches­tra. He has recent­ly per­formed with the Sacra­men­to Phil­har­mon­ic and Opera, Cleresto­ry, Auburn Sym­pho­ny, Camel­lia Sym­pho­ny, North State Sym­pho­ny, Shas­ta Sym­pho­ny, Pock­et Opera, Marin Sym­pho­ny, and West Edge Opera. He has also per­formed with Sin­fo­nia Spir­i­tu­osa, Sacra­men­to Choral Soci­ety, and with numer­ous church­es through­out North­ern Cal­i­for­nia to enhance their litur­gi­cal services.

Hailed by the San Fran­cis­co Clas­si­cal Voice for his “pow­er­ful” and “accu­rate” per­for­mances, by the Sacra­men­to Press for his “gor­geous solos,” and by the Sacra­men­to Bee for his “pol­ished bari­tone,” Mr. Yoder has per­formed over 25 oper­at­ic roles, includ­ing Lep­orel­lo and Maset­to in Mozart’s Don Gio­van­ni, Figaro in Mozart’s Le Nozze de Figaro, Zur­ga in Bizet’s The Pearl Fish­ers, Sil­vio in Leoncavallo’s I Pagli­ac­ci, and Mar­cel­lo in Puccini’s La Boheme. In con­cert, Mr. Yoder has delight­ed audi­ences with his numer­ous per­for­mances of the bass solos in Handel’s Mes­si­ah, the Requiems of Mozart, Duru­flé, and Fau­ré, in the Coro­na­tion Mass, Great Mass in C, and Mis­sa Bre­vis in F of Mozart, Achillas in Handel’s Julius Cae­sar, Bach’s St. John’s Pas­sion, Mahler’s Lieder eines fehren­den Gesellen, and many Bach can­tatas, among myr­i­ad oth­er mas­ter­works. He has also spent more than three decades proud­ly singing among the ranks of his fel­low bass­es in numer­ous choruses.

Mr. Yoder is a proud mem­ber of AGMA. When not singing, he can be found cycling, read­ing until the ear­ly morn­ing, or dri­ving to yet anoth­er rehearsal.