Review: as Faust in Faust

Faust himself, Jonathan Boyd (POA’s 2012 Candide and Tom in 2015‘s The Rake’s Progress) easily coped with the challenges of his own high notes, and his bright, vibrant voice was untrammeled through the entire production. His physical presence, for example in the opening scenes where he mimics the 8mm-Movietone effects being projected behind him, was forceful.

Review: as Lensky in Eugene Onegin

L’aigu fulgurant et l’instrument étonnement souple de Jonathan Boyd favorisent Vladimir

Review: as Narraboth in Salome

Jonathan Boyd was a superb Narraboth, handsome in voice and physical appearance,

Review: as Don Ottavio in Don Giovanni

El rol de Don Ottavio estuvo correctamente servido por Jonathan Boyd que supo lucir sus virtudes particularmente en sus dos exigentes arias

Review: as Roméo in Roméo et Juliette

She was partnered with Jonathan Boyd, who brought the love-struck Romeo to life with his passionate stage presence and a voice that was more exciting the higher it went. But this was no mere high-note-loving tenor – Boyd ended his Act II soliloquy to the sun with some beautifully executed soft, high singing that was as welcome as it was surprising. Many tenors merely belt out the last note, because that’s all they are able to do.

Review: as Tom Rakewell in The Rake's Progress

Dentro de las estupendas voces del elenco de cantantes, debemos destacar nitidamente la del tenor estadounidense Jonathan Boyd, como Tom Rakewell. “Among the great voices of the cast of singers, we must emphasize the US tenor neatly Jonathan Boyd, as Tom Rakewell”

Review: as Tom Rakewell in The Rake's Progress

Tom Rakewell (tenor Jonathan Boyd) necessarily had the most singing, and never flagged, his stentorian, silvery tenor ringing through the house easily.

Review: as Tamino in Die Zauberflöte

Tenor Jonathan Boyd is a confident, bold Tamino but also capable of great tenderness, as in the famous “portrait” aria

Review: as Frank Shallard in Elmery Gantry

Tenor Jonathan Boyd sang with a big, ringing sound as Frank Shallard and was riveting as he sang about craving a faith he’d never felt.

Review: as Peter Quint in The Turn of the Screw

Ces «fantômes», qui apparaissent sous les traits de Jonathan Boyd (magnifique ténor)

Le Quint de Jonathan Boyd est aussi séduisant vocalement que le jeu de son personnage est répugnant par sa lascivité, créant une tension entre la vue et l’ouïe qui déstabilise. Du grand art !

Review: as Prince in L'amour des 3 oranges

As the Prince American Tenor Jonathan Boyd Succeeded both in making us Laugh at the Character’s outrageous hypochondria in Act1 and in sweeping us away with the naive romanticism of the Act III duet…

The Prince that was sung by the tenor Jonathan Boyd dominated his part and the result was truly likable in every way, especially in his third Act duet sung beautifully where he intertwined with the “Ridicules” and the “Lyrque”;

Review: as Heutebise in Orphee

The Princess’ servant, Heurtebise, is excellently portrayed by tenor Jonathan Boyd, who coped well with the role’s high tessitura.

Playing the chauffeur Heurtebise, tenor Jonathan Boyd had a sweet, bright tone and was appropriately sympathetic, the most likable character of the lot.

Review: as Anatol in Vanessa

Les Personnages masculine sont marqués au sceau de l’irresponsabilité Anatol ne reculant devant aucun mensonge, se laisse aimer: le Tenor American Jonathan Boyd lui prête sa jeunesse et la séduction d’une voix france, gages de l’impunité. prêt à s’enivrer et à faire la cour aux dames, se rachetant en chantant les enfants innocents.

Le charme mozartien du ténor Jonathan Boyd parvient à rendre crédible les vacillements amoureux d’Anatol, que cette mise en scène présente davantage comme un héros romantique indécis que comme le profiteur calculateur que l’on pourrait imaginer.

Review: as Obadaia in Elijah

Jonathan Boyd used the full, and impressive, range of his lyric tenor, from clarion calls to honeyed croons.

Review: as Tamino in Die Zauberflöte

Jonathan Boyd, in the lead role of Prince Tamino, was especially stalwart. Boyd displayed a clear and focused tenor voice full of masculine assurance, well matched to a character who must prove both his humanity and his strength of purpose by undergoing a series of trials.

Review: as Werther in Werther

“Boyd’s Werther was an extraordinary achievement. The part keeps him on stage and in the limelight for so much of the action that it must be a relentless part to take on. Fortunately he was more than up to the task. His voice had enough passion to please the audience but also a fraught, worried agony that ensured a real sympathy, even though one might have been expected to want his rather shallow character to grow up and stop being silly and spoilt…”

“[The] cast is unimpeachably fine from a dramatic point of view while vocally, too, the standard is high. US tenor Jonathan Boyd stars in the title role…his sensitivity and sense of style, added to his youth and good looks, make him near ideal as the doomed artist failing to secure a place in bourgeois society.”

Review: as Rodolfo in La bohème

“Jonathan Boyd as Rodolfo deployed a very pleasing lyric tenor with excellent legato and plenty of squillo. His voice had a beautiful quality in all parts of his range. His first act aria, Che Gelida Manina, was excellently sung with gleaming high notes, even legato and the right degree of impulsiveness.”

Review: as Candide in Candide

“…The full, sweet-toned but ruggedly masculine tenor of Jonathan Boyd in the title role. He tells wonderful stories with his every aria, coloring and shading with complete mastery. He also brings a boyish innocence to his portrayal that makes Voltaire’s absurdist plot damn near make sense.”