American tenor Evan LeRoy Johnson is quickly establishing an international career in many of the leading lyric and spinto roles of the repertoire, with recent and upcoming appearances at The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Glyndebourne Festival, Bayerische Staatsoper, National Theatre Prague, Canadian Opera Company, and Royal Danish Opera.
In 26/27, Johnson returns to National Theatre Prague for Idomeneo (title role), Carmen (Don José), La traviata (Alfredo), Nabucco (Ismaele), Macbeth (Macduff), and Rusalka (Prince). He makes debuts with Irish National Opera in Eugene Onegin (Lenski) and Tiroler Festspiele Erl in Der ferne Klang (Fritz) and returns to Glyndebourne Festival for Carmen (Don José) and Oper Leipzig for La bohème (Rodolfo).
Last season, Johnson made debuts at The Metropolitan Opera in Arabella (Count Elemer) and Lyric Opera of Chicago in Madama Butterfly (Pinkerton). He also returned to National Theatre Prague for a new Calixto Bieito production of Idomeneo (title role) and a revival of Rusalka (Prince). On the concert stage, he debuted with the Dallas Symphony Orchestra and at Bravo! Vail in concert performances of Madama Butterfly (Pinkerton) conducted by Fabio Luisi.
In 24/25, Johnson made his hometown debut with Minnesota Opera in Roméo et Juliette (Roméo), returned to San Francisco Opera for La bohème (Rodolfo) and National Theatre Prague for Médée (Giasone), and made his Canadian Opera Company debut in Eugene Onegin (Lenski).
Johnson has developed a particularly close relationship with National Theatre Prague, where his repertoire encompasses Idomeneo, Rusalka, Médée, Carmen, La traviata, Nabucco, and Macbeth. He has also appeared at Glyndebourne Festival in Rusalka (Prince) and Carmen (Don José), San Francisco Opera in Eugene Onegin (Lenski) and La bohème (Rodolfo), and Royal Danish Opera and The Dallas Opera in Madama Butterfly (Pinkerton).
A former member of the Ensemble at Bayerische Staatsoper, Johnson’s appearances with the company have included La bohème (Rodolfo), Otello (Cassio), Tannhäuser (Walther), Dialogues des Carmélites (Chevalier de la Force), Salome (Narraboth), Die tote Stadt (Graf Albert), and Der fliegende Holländer (Steuermann). He made his company debut in a new production of Otello conducted by Kirill Petrenko.
Other international highlights include debuts with Opernhaus Zürich in Salome (Narraboth), Oper Frankfurt in Barrie Kosky’s production of Carmen (Don José), Festspielhaus Baden-Baden and the Berliner Philharmoniker in Die Frau ohne Schatten (Erscheinung eines Jünglings) conducted by Kirill Petrenko, and the Salzburger Festspiele in Krzysztof Warlikowski’s production of Macbeth (Malcolm) conducted by Philippe Jordan. He made his European debut with the Norwegian National Opera in Calixto Bieito’s production of Britten’s War Requiem conducted by Lothar Koenigs.
In North America, Johnson’s additional engagements include Carmen (Don José) and La bohème (Rodolfo) with Opera Philadelphia, Lucia di Lammermoor (Edgardo) with Lyric Opera of Kansas City, and Rusalka (Prince) with Des Moines Metro Opera. On the concert stage, he has appeared in Verdi’s Messa da Requiem with Opera Philadelphia and the Columbus Symphony Orchestra, Der fliegende Holländer (Steuermann) with the Milwaukee Symphony Orchestra under Edo de Waart, and programs with the Bremer Philharmoniker.
2026-2027
