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.
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”
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…
—Stephen Hastings Opera News Sep.2014
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”;
2014: Orphee — Pittsburgh Opera
The Princess’ servant, Heurtebise, is excellently portrayed by tenor Jonathan Boyd, who coped well with the role’s high tessitura.
—Mark Kanny Pittsburgh Tribune
Playing the chauffeur Heurtebise, tenor Jonathan Boyd had a sweet, bright tone and was appropriately sympathetic, the most likable character of the lot.
—Elizabeth Bloom Pittsburgh Post-Gazette
2014: Vanessa — Opera Theater de Metz Metropole
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.
—Bruno Villien Opera Magazine
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.
—Pierre Degott Res Musica
2014: Elijah — Fort Worth Symphony
Jonathan Boyd used the full, and impressive, range of his lyric tenor, from clarion calls to honeyed croons.
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.
—Jim harper Tampa Bay Times
2013: Werther — Scottish Opera
“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.”
2009: La bohème — Nashville Opera
“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.”
2004: Candide — Lake George Opera Festival
“…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.”