“Young American tenor Evan LeRoy Johnson is a talent to watch for: he has both stage presence and vocal presence by the bucketload (being tall and good looking doesn’t hurt). The Prince’s arrival in Act 1 was the first time that we could sit back and luxuriate in the pure vocal lyricism.”
David Karlin, Bachtrack, 2019 - The Prince in 'Rusalka' at Glyndebourne Festival
In the 2019-2020 season, American tenor Evan LeRoy Johnson saw returns to Bayerische Saatsoper for Cassio in Otello, Narraboth in Salome, and Henry Morosus in Die Schweigsame Frau and debuts at Lyric Opera of Kansas City as Edgardo in Lucia di Lammermoor and Festival d’Aix-en-Provence as Andres in Wozzeck. His orchestral engagements include the Verdi Requiem with Opera Philadelphia, Beethoven Christ on the Mount of Olives with the Bergen Philharmonic Orchestra, and Beethoven Symphony No. 9 at the Verbier Festival conducted by Valery Gergiev.
In the 2018-2019 season, Johnson made his Bayerische Staatsoper debut as Cassio in...
“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
'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
“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
“The Don José of Evan LeRoy Johnson makes a strong impression, especially in the finale where he dramatically pushes the decibel slider. He is also the one who best masters the language of Molière.”
Jean-Luc Clairet, RecMusica, March 2, 2019 - Don José in 'Carmen' at Oper Frankfurt
