Evan LeRoy Johnson

— Tenor

“As the itinerant mill worker infatuated with the mill owner's daughter, Johnson was often fiery and impetuous. "Ungeduld" ("Impatience") unleashed a volley of resounding outbursts, the last borderline-desperate in its attempt to make-believe the singer's affections are reciprocated. There were moments of tenderness and reflection, too. "Der Neugierige" ("The Inquisitive One") brought sudden jolts of anxious introspection, with finely supported legato singing. "Morgengruß" ("Morning Greeting") was sweetly lyrical, yet Johnson also touchingly suggested the poignant fragility of love desired, but not yet fully captured. But by the time Johnson and Drake entered the final stages of the spurned lover's journey, they were unquestionably working at an elevated level of artistry. The last three songs are miraculously beautiful creations, a soft benediction on a life the miller lad no longer thought worth living. Johnson, still honey-toned and full of vocal stamina, delivered a moving, dignified traversal of these final moments, abetted by Drake's mesmerically poised accompaniments.”
Terry Blain, Star Tribune, August 14, 2017 - 'Die Schöne Müllerin' at Source Song Festival with Julius Drake

“Evan LeRoy dominates the stage...His Don José arouses enthusiasm in his transformation from the mother's son to the humiliated avenger. Between French brio and Italian verismo, his tenor, in redemption and eruption, makes exciting circles over the abyss.”
Horst Hollman, Nordwest Zeitung, May 29, 2017 - Don José in 'Carmen' at Oldenburgisches Staatstheater

“Tenor Evan LeRoy Johnson, in his debut performance of the War Requiem, sang with astonishing sensitivity, bringing both fragility and power to the high-lying part. His final duet with baritone Johannes Kammler, a setting of Owen’s Strange Meeting was filled with an otherworldly sadness.”
Aksel Tollåli, BachTrack, September 13, 2016 - Britten’s 'War Requiem' with the Norwegian National Opera


American tenor Evan LeRoy Johnson is quickly gaining attention for his “ardently full voice tenor” (Philadelphia Magazine) and is currently a graduate student at the Curtis Institute of Music. In the 2017-2018 season, Mr. Johnson makes his debut at Opernhaus Zürich as Narraboth in Salome. He will also return to Opera Philadelphia for his first North American performances as Don José in Carmen. He recently made a highly-acclaimed European debut at the Norwegian National Opera in Calixto Bieto’s fully-staged production of Britten’s War Requiem conducted by Lothar Koenigs. He also made . . .

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