Roger Honeywell

Tenor

Biography

Canadian tenor Roger Honeywell has been acclaimed by Anthony Tommasini as a performer who brings, “burnished sound and crisp diction to sweeping vocal lines, full of leaps and dips.” A busy and exciting 2018-2019 season sees Roger Honeywell returning to the Royal Opera House, Covent Garden for his stage debut as Prince Shuisky in Boris Godunov, as well as the cover of Captain Vere in Billy Budd. He will also return to the Canadian Opera Company for Rufus Wainwright’s world premiere work Hadrian, and debut the role of Loge in Das Rheingold with Opéra de Montréal.

In the 2017-2018 season, Roger Honeywell debuted the role of Captain Ahab in Jake Heggie’s Moby Dick at both Utah Opera and Pittsburgh Opera, garnering unanimously rave reviews. Of the role, Opera News proclaimed, “Honeywell’s unflagging heldentenor intensely portrayed Ahab’s obsession deftly negotiating angular, piercing lines. His more melodic second act aria ‘Heartless God’ was exquisitely sung before the work’s stormy ending.” Mr. Honeywell made his house debut with Opéra national du Rhin in Strasbourg, France in a Kurt Weill double-bill, performing the roles of Charlie and the Father in Mahagonny-Songspiel and The Seven Deadly Sins, respectively. Other appearances included Dick Johnson in La Fanciulla del West with Virginia Opera, and a reprisal of the role of Veasey in Jennifer Higdon’s Cold Mountain with North Carolina Opera.

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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

“As the boozy, proud Count Danilovitch, Canadian tenor Roger Honeywell brought considerable vocal weight to a talky role that gave him few chances to display his voice at its best. Honeywell’s chemistry with [Deborah] Voigt was palpable in Act II, kicked off with a cavalry duet that, for all its silliness, gave the two stars room to play both vocally and comedically. Honeywell never missed an opportunity for fun, including the male ensemble’s near-slapstick rendition of “Girls, Girls, Girls,” complete with kick line coda.”

Jennifer Goltz-Taylor

Opera News

More 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 

“As the boozy, proud Count Danilovitch, Canadian tenor Roger Honeywell brought considerable vocal weight to a talky role that gave him few chances to display his voice at its best. Honeywell’s chemistry with [Deborah] Voigt was palpable in Act II, kicked off with a cavalry duet that, for all its silliness, gave the two stars room to play both vocally and comedically. Honeywell never missed an opportunity for fun, including the male ensemble’s near-slapstick rendition of “Girls, Girls, Girls,” complete with kick line coda.”

Jennifer Goltz-Taylor, 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 

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