Evan LeRoy Johnson

— Tenor

'Evan Leroy Johnson was every bit her equal as the conflicted Prince. From his first phrase with its gleaming, robust tone and Heldentenor promise, Mr. Johnson announced himself as a major talent. Tall, handsome, strapping, he appeared every inch the romanticized royal. His freely produced, technically secure tenor was also able to modulate its size to encompass melting phrases of tenderness and pathos...You read it here: If young Johnson (he is 26) takes his time and takes his pick, he is destined to be the next star tenor of his generation."
James Sohre, Opera Today, July 08, 2018 - The Prince in 'Rusalka' at Des Moines Metro Opera

“Yet there’s real French-ness to it, too, mostly where it counts most—in the music. The singers did very well with the language, really relishing the words. This is especially true of Evan Leroy Johnson (Don José), whose forwardly-placed tenor with its easy access to a meltingly lovely head voice most closely approximate the classic French style – even better, Johnson has the refined taste to go with it, capping “La fleur que tu m’avais jetée” with a heart-stopping soft finale. And he’s a committed, thoughtful actor.”
David Fox, Parterre, April 28, 2018 - Don José in 'Carmen' at Opera Philadelphia

“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).

In the 2018-2019 season, Mr. Johnson makes his Bayerische Staatsoper debut as Cassio in a new production of Otello conducted by Kirill Petrenko, then debuts at Oper Frankfurt as Don José in Barrie Kosky’s production of Carmen. He also returns to Opera Philadelphia as Rodolfo in La bohème and will debut at the Glyndebourne Festival as the Prince in Rusalka conducted by Robin Ticciati. In concert, he sings his first performances of Steuermann in . . .

Learn More