Roger Honeywell



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.” In the 2016-2017 season, Mr. Honeywell will return to Boston Lyric Opera for Don José in Carmen, Calgary Opera as Eisenstein in Die Fledermaus and Capt. Vere in Billy Budd with Des Moines Metro Opera. Internationally, he will join Royal Opera House, Covent Garden for Thomas Adès, The Exterminating Angel.

In the 2015-2016 season, Roger Honeywell made his company debut with the Théâtre du Châtelet as Torasso in Sondheim’s Passion, Boston Lyric Opera as Danilo in The Merry Widow, as joined the roster of LA Opera for Jake Heggie’s Moby Dick. Highlights of Mr. Honeywell’s 2014-2015 season included his 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 also returned to Calgary Opera as Nikolaus Sprink for the Canadian premiere of Kevin Puts’ Silent Night, Eisenstein in Die Fledermaus with Vancouver Opera, and Danilo inThe Merry Widow at Michigan Opera Theatre.

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“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