Allen E.F. Rozansky is an attorney, practicing for more than 20 years in the areas of business organizations (formation, operation, and transactions), estate planning and administration (taxable and non-taxable estates – domestic and international), asset protection, and taxation (individual, partnership, and corporate – international and domestic). He also has consulted in domestic relations matters regarding the treatment of beneficial interests in trusts as “property” subject to the equitable distribution rules.

Mr. Rozansky received his B.A. in international relations from Connecticut College, and both his M.B.A. and J.D. (with an emphasis in taxation) from the University of Colorado. He is proficient in French and Hebrew, having lived and studied in Paris and Jerusalem, and is partially proficient in Spanish. Mr. Rozansky is a member of the Colorado and Denver bar associations. He has written about estate planning, taxation, business organizations, and securities, having been published in such publications as The Colorado Lawyer (will revocations, international estate planning, securities, probate litigation, and same-sex marriages), the newsletter of the International Law Section of the ABA (international taxation), the Comparative Yearbook of International Business published by the Center for International Legal Studies (legal issues arising when non-American athletes play professionally in the United States), the CBA’s Trust and Estate Section’s Council Notes, and The Front Porch newspaper (effect of U.S. Supreme Court’s DOMA decision on Colorado residents). Mr. Rozansky has lectured on many topics, including domestic and international taxation, estate planning, and choice-of-entity planning.

Mr. Rozansky sits on two international Boards, the PII Foundation as well as the Wine & Opera Festival. He has served as President and Secretary of the Board of Directors of the Rocky Mountain Children’s Choir and on the Finance Committee of Denver’s Jewish Community Center.

Crystallia Spileou grew up on the Greek island of Crete and began her stage career as an actress at the Renaissance Festival of Rethymno. She performed in plays highlighting the Renaissance literature of Venetian Crete at the open theatre of Erofili in the 16th century Venetian castle, Fortezza. Plays included The Sacrifice of Abraham and Erotokritos by Vitsentzos Kornaros, Erofili by Georgios Chortatzis and Voskopoula, among others.

Crystallia had an early start in the wine industry as her father was a distributor on the island. Later on, she moved to the United States to further her studies in classical singing and it was her love for wine that supported her as an immigrant in America. She has collaborated with wine companies from all over the world: Stags Leap, Antinori, Penfolds, François Carillon, Laurent Perrier, to name a few. Nonetheless, having a keen understanding of the unique and rare, it is the indigenous grapes of the world that still fascinate her the most.

Ms. Spileou has performed with different opera companies throughout the United States and Europe such as the Greek National Opera, Opéra de Massy, Shakespeare in the Park New York City, Opera Columbus, Weill Hall in Carnegie Hall and many others. She has sung roles such as: Mimi in La Bohème, Lucia in Lucia di Lamermoor, Nedda in I Pagliacci, Violetta in La Traviata, Alice Ford in Falstaff, Giorgetta in Il Tabarro. Her instantly recognizable color with its dark, luscious middle register and its metallic, cutting top, coupled with an impressive ability for dexterous coloratura make her vocally unforgettable in the demanding dramatic repertoire that she now specializes in: Lady Macbeth in Macbeth, Abigaille in Nabucco, Amelia in Un Ballo in Maschera, as well as Strauss’s Salome, Leonora in Beethoven’s Fidelio and the title roles in Puccini’s Manon Lescaut and Turandot.

Ms. Spileou holds a Degree in Piano Performance from the Conservatory of Athens and a Diploma in Vocal Performance from the Conservatory of Heraklion in Crete. Business-minded by nature, she founded the Wine & Opera Festival in 2025 in New York City.

Michael Karl began his professional career after participating as a semi-finalist in the Young Division of the Chester Ludgin Memorial International Verdi Baritone Competition in New York City. Engagements followed throughout the United States in roles such as: Rigoletto in Rigoletto, Macbeth in Macbeth, Ford in Falstaff, Germont in La Traviata, Tonio in I Pagliacci, Sharpless in Madama Butterfly, Michele in Il Tabarro, Marcello in La Bohème, Silvio in I Pagliacci and Schaunard in La Bohème.

He garnered international attention for his portrayal of Verdi’s Macbeth, prompting journalist William Albritton to report on his forceful acting style and “large, full upper register,” in the UK publication Opera.

Recently, Mr. Karl has transitioned from being a Verdi Baritone to a Dramatic Tenor. He debuted performing in concert versions of Otello in Verdi’s Otello and Cavaradossi in Puccini’s Tosca, as well as a program of opera arias at the Kosciuszko Foundation. Additional roles in his repertoire include: Calaf in Turandot, Walther in Die Meistersinger, Andrea Chenier in Andrea Chenier, Dick Johnson in La Fanciulla del West, Lohengrin in Lohengrin, Radames in Aida, Don Carlo in Don Carlo, Bacchus in Ariadne auf Naxos, Florestan in Fidelio, Siegmund in Die Walküre and Canio in I Pagliacci.

James Kuslan has a B.A. in English literature from the University of Pennsylvania and an M.F.A. from the Yale School of Drama. He is a former Edward Albee Foundation Fellow in Playwriting. He has a passion for opera and, with the German classical music recording giant Deutsche Grammophon, he has served as a voice scout, compilation producer of vocal CDs, copy and headline writer and writer of corporate communications. His essays on Lucia di Lammermoor and Don Pasquale are included in the booklets that accompany the DVDs of the Metropolitan Opera’s productions of those operas, both starring Anna Netrebko. As a writer of liner notes, his credits include the London label’s 20 CD collection, Opera Made Easy, featuring the artistry of tenor Luciano Pavarotti. In addition, he has written liner notes for the Philips and Sonoris labels.

James Kuslan’s completely rethought and rewritten libretto that brings humanity and wit to the life affirming and quicksilver music of Johann Strauss’s Die Fledermaus, is scheduled for professional production in New England in fall 2027.