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Canadian tenor Roger Honeywell has been acclaimed by Anthony Tommasini as a performer who brings “burnished sound and crisp diction to the sweeping vocal lines, full of leaps and dips." Highlights of the 2014-2015 season include a return to Santa Fe Opera for the world premiere of Jennifer Higdon’s Cold Mountain, in the role of Veasey, directed by Leonard Foglia.  He will also return to Calgary Opera as Nikolaus Sprink for the Canadian premiere of Kevin Puts’ Silent Night, Eisenstein in Die Fledermaus with Vancouver Opera, and Danilo in The Merry Widow, opposite Deborah Voigt, at Michigan Opera Theatre. Mr. Honeywell made a breakthrough last season when Opera News considered his Peter Grimes with Des Moines Metro Opera to be a “a career-defining interpretation,” delivering “a prodigious vocal performance impressive for its remarkable skill in dynamic shading, as well as its dramatic power.” Last season also saw Mr. Honeywell as Aegist in Sir David McVicar’s production of Elektra conducted by Sir Andrew Davis with Lyric Opera of Chicago, and his return to Portland Opera to sing Cavaradossi in Tosca. Later in the season, Mr.

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Canadian tenor Roger Honeywell has been acclaimed by Anthony Tommasini as a performer who brings “burnished sound and crisp diction to the sweeping vocal lines, full of leaps and dips." Highlights of the 2014-2015 season include a return to Santa Fe Opera for the world premiere of Jennifer Higdon’s Cold Mountain, in the role of Veasey, directed by Leonard Foglia.  He will also return to Calgary Opera as Nikolaus Sprink for the Canadian premiere of Kevin Puts’ Silent Night, Eisenstein in Die Fledermaus with Vancouver Opera, and Danilo in The Merry Widow, opposite Deborah Voigt, at Michigan Opera Theatre.

Mr. Honeywell made a breakthrough last season when Opera News considered his Peter Grimes with Des Moines Metro Opera to be a “a career-defining interpretation,” delivering “a prodigious vocal performance impressive for its remarkable skill in dynamic shading, as well as its dramatic power.” Last season also saw Mr. Honeywell as Aegist in Sir David McVicar’s production of Elektra conducted by Sir Andrew Davis with Lyric Opera of Chicago, and his return to Portland Opera to sing Cavaradossi in Tosca. Later in the season, Mr. Honeywell returned to Vancouver Opera to sing Frederic in Gilbert and Sullivan’s The Pirates of Penzance.

Mr. Honeywell returned to the Canadian Opera Company in the 2013-2014 season as Bob Boles opposite Ben Heppner in Peter Grimes, and reprised the role of Captain Vere with Theatro Municipal do Rio de Janeiro in Marcelo Lombardero’s production of Billy Budd, originally staged in Santiago, Chile. Mr. Honeywell also brought his acclaimed Bacchus in Ariadne auf Naxos to Pacific Opera Victoria. Orchestral engagements included Orff’s Carmina Burana with the Vancouver Symphony.

Mr. Honeywell’s exciting 2011-2012 season included appearances with the Portland Opera in their opening night gala and as Pinkerton in Madama Butterfly, with the Fort Worth Opera as Cavaradossi in Tosca, and with the Bard Festival as Midas in Die Liebe der Dannae.  He also appeared in concert with the Vancouver Symphony, the Calgary Philharmonic, and the Tucson Symphony.

Career highlights include the role of James Nolan in Doctor Atomic with the Lyric Opera of Chicago, which he then reprised with the Metropolitan Opera for his debut there in 2008; Danilo in The Merry Widow with the Lyric Opera of Chicago; with Santa Fe Opera in Lewis Spratlan’s Pulitzer Prize-winning Life Is a Dream; his role debut of Cavaradossi in Tosca with the Florida Grand Opera; Troilus in Troilus and Cressida with the Opera Theatre of St. Louis; Narraboth in Salome with the Opéra de Montréal; the American premiere of Tan Dun’s Tea: A Mirror of Soul with Santa Fe Opera; the world premiere of Ricky Ian Gordon’s The Grapes of Wrath at the Minnesota Opera and Utah Opera; Macduff in Macbeth with the Opéra de Montréal; his debut with the Fort Worth Opera as Don Jose in Carmen; and a world premiere of Paul Moravec’s The Letter with the Santa Fe Opera. He has also made role debuts of Erik in the Flying Dutchman for Utah Opera and Don Jose in Carmen with Opera Calgary to great critical acclaim, as well as Rodolfo in La Boheme for the Opera Company of Philadelphia and Dick Johnson in La Fanciulla del West for the Glimmerglass Opera.

Other notable performances include the role of Laca in a new production of Jenufa by Jonathan Miller for the Glimmerglass Opera, a new production of Daphne in the role of Leukippos at the New York City Opera, Pinkerton in a new production of Madama Butterfly by Jun Kaneko for Opera Omaha, and the world premiere of Margaret Garner for Michigan Opera Theatre, Cincinnati Opera and the Opera Company of Philadelphia. After a career as an actor in Canada working at many of the country’s foremost companies, including five seasons with the Shaw Festival and five seasons with the Stratford Shakespeare Festival in Canada, Mr. Honeywell joined the Canadian Opera Company’s young artist program, where he was heard in the title role of Giulio Cesare by Antonio Sartario and Narraboth in Salome. He then joined the Lyric Opera of Chicago’s Ryan Opera Center, where he sang the role of Frederick in The Pirates of Penzance opposite Elizabeth Futral.

In addition to his opera engagements, Mr. Honeywell has performed concert work with the Montreal Symphony, Toronto Symphony, Albany Symphony, Baltimore Symphony Orchestra, Calgary Philharmonic, Nashville Symphony Orchestra, and the Vancouver Symphony Orchestra.

He is a graduate of the Ryerson Theatre School in Toronto and has received numerous awards, among which are a Dora Mavor Moore Award for his role of Arnaud de Tilh in The House of Martin Guerre, a Maureen Forrester Award, and a Tyrone Guthrie Award from the Stratford Festival.

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Reviews

"Honeywell's stage sense is second to none, so his judiciously nuanced dramatic performance was foreseeable; the tenor has come into his own technically as well and delivered a prodigious vocal performance impressive for its remarkable skill in dynamic shading, as well as its dramatic power. All was delivered with a catch in the voice reflective of misery itself. This bodes to be a career-defining interpretation. "

Mark Thomas Ketterson, Opera News

"Roger Honeywell gives the performance of a lifetime, throwing himself into the role of the tortured Segismundo as if he were singing Tristan, holding nothing back and attacking the punishing vocal line with alarming intensity."

Lawrence A. Johnson, The Classical Review

"The tenor Roger Honeywell, in splendid voice as Segismundo, charts the course of a character who initially delivers a self-pitying rant yet ultimately proves fit to rule."

George Loomis, Financial Times

"The all-demanding central role of Segismundo requires that rare breed of singer, a dramatic tenor, and Roger Honeywell more than fits the bill with his ideal mix of power and flexibility. In a remarkable, all-encompassing performance, he adroitly handles the role's vocal extremes and vividly conveys the character's transformation and ultimate redemption."

Kyle MacMillan, The Denver Post

"The role calls for a heroic tenor, and this production has one in the young, athletic Roger Honeywell, who brought burnished sound and crisp diction to the sweeping vocal lines, full of leaps and dips."

Anthony Tommasini, The New York Times

"As the Maxim’s-loving Danilo, Roger Honeywell was ideal in both characterization and vocalism. The Canadian tenor’s flexible voice is well-suited to Lehar’s buoyant score and he delivered warmly idiomatic singing in the operetta’s set pieces. Honeywell also managed the farce and dialogue with a theater hand’s natural ease, making a well-rounded character out the pleasure-loving, commitmentphobe playboy who has met his match in the hard-to-get Hanna. The tenor seemed to having a high time, throwing himself into the ensembles and dancing with an energy that was infectious."

Lawrence A. Johnson, Chicago Classical Review

"Roger Honeywell used his assertive dramatic tenor ably as Hammond; his duets with Ms. Racette were among the evening’s vocal highlights."

Allan Kozinn, New York Times