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Metropolitan Opera
National Council Auditions Grand Finals
Photo by Fay Fox
Below find critical acclaim for:
Dutch National Opera Die Fledermaus (2024)
Royal Opera House Der fliegende Holländer (2024)
Atlanta Symphony Orchestra Carmina Burana (2024)
San Francisco Opera Innocence (2024)
Music of the Baroque Mozart Requiem & Bach Magnificat (2023)
Grant Park Music Festival Die erste Walpurgisnacht (2023)
Chicago Opera Theater Albert Herring (2023)
Atlanta Symphony Orchestra Messiah (2023)
Canadian Opera Company Der fliegende Holländer (2022)
Opéra de Lausanne Candide (2022)
Festival d’Aix-en-Provence L’incoronazione di Poppea (2022)
The Metropolitan Opera Boris Godunov (2021)
Opera Columbus The Barber of Seville (2020)
Sarasota Orchestra Beethoven Symphony No. 9 (2019)
The Metropolitan Opera MONCA Grand Finals Concert (2019)
Opera Philadelphia A Midsummer Night’s Dream (2019)
Tanglewood Candide (2018)
Canadian Opera Company The Nightingale and Other Fables (2018)
Palm Beach Opera Candide (2018)
Arizona Opera Candide (2018)
Opera Columbus The Turn of the Screw (2017)
Bard Summerscape Mozart Requiem (2017)
Juilliard Opera Kát’a Kabanová (2017)
Orlando Philharmonic Candide (2016)
Juilliard Opera Eugene Onegin (2014)
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Dutch National Opera
Die Fledermaus
credit Bart Grietens
Dutch National Opera
Die Fledermaus
2024
“Much of Fledermaus’s appeal – for audiences and casts alike – is the way it sends itself up, and this Kosky manages with a light touch, a stagehand appearing just in time to save ‘the tenor’ Alfred – or is it Miles Mykkanen – from himself in one of the show’s several hymns to the benefits of alcohol. Mykkanen has all the volume necessary to ensure nessun dorma but convincing tenderness and comedy in all the right places, too.”
Bachtrack
“Mykkanen as Alfred proved to be a very flexible tenor.”
Place de l’Opera
“Tenor Miles Mykkanen threw himself wholeheartedly into an Alfred who was clearly in love with his own voice.”
Scherzo
“Rosalinde must put up with her very annoying lover Alfred, but whose superb tenor voice makes her swoon. It is the American Miles Mykkanen who plays this role of a foolish lover, here extremely comical. And as for his voice, we understand Rosalinde’s taste! The director also has him perform here and there small extracts from the most famous tenor arias during the dialogues, which he performs perfectly and with disconcerting ease.”
Classique News
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Royal Opera House
Der fliegende Holländer
credit Tristram Kenton
Royal Opera House
Der fliegende Holländer
2024
“Mykkanen managed to turn the Steersman into a principal character, so striking and brilliant were his forthright timbre and clear diction.”
Opera Magazine
“Mykkanen’s elegiac delivery of “Mit Gewitter und Sturm aus fernem Meer,” bright and innocent, was an ideal precursor to Terfel’s flinty bass-baritone minutes later.”
Bachtrack
“The most beautiful singing of the evening comes from tenor Miles Mykkanen’s Steersman.”
The i
“Riding high above the waves is Mykkanen, making an impressive ROH debut as the Steersman…”
The Guardian
“Mykkanen, as the Steersman, commanded attention with his beautiful voice—so much so that one could only wish he had more stage time.”
Opera Plus
“The singers were on top form. What luxury casting…Mykkanen made a beautifully voiced Steersman.”
The Article
“Mykkanen makes a big impression as the clear-voiced but lazy Steersman…”
The Guardian
“The Steersman is always one to watch, and Mykkanen was one of the sweetest and most clarion-voiced I’ve heard in some time, with effortless ascents and a creamy top. This was a reminder that this music is completely steeped in bel canto traditions.”
OperaWire
“How satisfying it is to attend an opera and find a ‘discovery’ in the cast. Here, it was the Steersman of Miles Mykkanen. Here is a singer of vast power and lyricism, who convinced us that the Steersman is really a vital cog in the machine, whose dramatic abilities match his fine vocal apparatus.”
Opera Today
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San Francisco Opera
Innocence
credit Cory Weaver
Atlanta Symphony Orchestra
Carmina Burana
2024
“Rather than sit awkwardly onstage for the other 24 numbers, tenor Miles Mykkanen entered stage right as his segment began, crossing the apron of the stage as he sang with theatrical gestures, exiting stage left at the end. The risk in that is one of hamming it up, but Mykkanen never crossed that red line. Especially in the uppermost range of the lyrical tenor voice, he delivered the allegorical distress of a human in misery being roasted and eaten by life.”
EarRelevant
San Francisco Opera
Innocence
2024
“Of beautiful, clear voice and vibrant presence, Mykkanen was the exuberant lover at his wedding, the insecure son arguing with his father, and finally the conflicted accomplice to the shooter who cowardly fled the scene of the shooting. In the end he was ruined, but freed from the innocence he had feigned.”
Opera Today
“Farahani and Mykkanen made a compelling and believable wedding couple Stella and Tuomas who saw their marital joy turning into a nightmare at their wedding party. With her crystalline lyrical voice and his booming sound, both underwent emotional arches that went opposite directions while maintaining close chemistry between them. Of particular interest was the great soliloquy/confession scene at the end for Tuomas. Mykkanen’s final delivery was deliberately filled with so much sadness and tenderness despite the revelation.”
Parterre Box
“Tenor Miles Mykkanen has a pretty sound as the Bridegroom, but was able to effortlessly convey the different emotions of the opera.”
Opera Tattler
“As Mykkanen’s Tuomas descends deeper into his own turmoil, despair and hatred, his arias, paradoxically, become increasingly piercing and beautiful.”
Classical Music Daily
“Tenor Miles Mykkanen portrayed the hope-filled groom’s descent into self-loathing…”
Musical America
“A uniformly excellent cast, singing and speaking in multiple languages, captured the knife-edged emotions of denial and retribution, fear and rage. Mykkanen whipsawed from wishful bridegroom to tormented brother of the shooter.”
Opera Magazine
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Chicago Opera Theater
Albert Herring
credit Michael Brosilow
Chicago Opera Theater
Albert Herring
2023
“Miles Mykkanen displayed a lovely lyric voice with an appealing honeyed sweetness in the timbre, which he employed with intelligence and humor.”
Opera News
“The piece has worn remarkably well, and in the tenor Miles Mykkanen, Chicago Opera Theater has the sort of bouncy, fresh-faced boy next door who can make it sing.”
Air Mail Magazine
“As the soon-to-bloom Albert, Mykkanen cut a hilarious, but also quite sympathetic, figure – a lad who effectively sees that the door has been left ajar and bursts through it.”
Chicago on the Aisle
“A marvelous cast… Miles Mykkanen embodied the title character’s quiet introversion with quiet, nervous gestures and at times an almost whimpering sadness. He is a comic delight when he attends the May Day festival in his absurd white ensemble, and his drunken state is believable without delving into absurdity.”
Hyde Park Herald
“A winning performance… With his splendid lyric tenor and endearingly awkward manner as the town’s reluctant May King Mykkanen had the full measure of Albert both vocally and dramatically – a repressed free spirit who just needed a nudge in the right direction.”
Opera Magazine
Grant Park Music Festival
Die erste Walpurgisnacht
2023
“Clad in a gold patterned jacket that aptly suggested a Druid master of ceremonies by way of Las Vegas, Miles Mykkanen made quick impact with his vibrant high tenor leading the Druids’ choral praise to nature.”
Chicago Classical Review
Music of the Baroque
Mozart Requiem & Bach Magnificat
2023
“Impressive throughout was the clear, vibrant tenor of Miles Mykkanen.”
Chicago Classical Review
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Canadian Opera Company
Der fliegende Holländer
credit Michael Cooper
Atlanta Symphony Orchestra
Messiah
2023
“Tenor Miles Mykkanen, with a blossoming international career, sang “Comfort ye” with operatic drama and charisma. On the line, “The voice of him that crieth in the wilderness,” he almost shrieked “wilderness” — a wonderfully raw and utterly theatrical delivery. Later in his lone aria — the tenor gets just one in this abbreviated version — Mykkanen’s rapid runs were beautifully controlled, his high notes clear and almost boyishly charming.”
Arts ATL
Canadian Opera Company
Der fliegende Holländer
2022
“A strong cast… The fresh, ringing tone of Miles Mykkanen was a pleasure.”
Opera Magazine
“The COC has assembled a fine ensemble... Kudos to American tenor Miles Mykkanen as a wonderful Steuermann.”
Ludwig van Toronto
“The production makes more than usual of the Steersman, well sung by American tenor Miles Mykkanen…The reactions of the Steersman seem to oscillate from fear through incomprehension to compassion and back again.”
Opera Canada
“Wagner’s The Flying Dutchman is a dark and slow-moving story. There is not much action nor many characters on stage. Hence, it relies on the vocals to impress. Mykkanen, as the Steersman, is a full-voiced tenor with clear phrasing.”
My Scena
“Bodies move with precision and clarity…it does contribute to a well-balanced portrayal of the angst of the Steersman (Miles Mykkanen). The singing is unsurprisingly the foundation of this production, the keystone piece that makes this Dutchman’s particular aesthetic work.”
Intermission Magazine
“Mykkanen contributes an extraordinarily physical performance ringing with great dynamism and musicality.”
Opera Going Toronto
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Opéra de Lausanne
Candide
credit Jean-Guy Python
Opéra de Lausanne
Candide
2022
“On stage, all attention is undeniably drawn to tenor Miles Mykkanen. His Candide borders on perfection, with a voice of remarkable quality and an impeccable vocal line that soars effortlessly into the upper register during intimate moments. His portrayal is touching, imbuing the character with an endearing innocence.”
Le Temps
“Candide is splendidly embodied by Miles Mykkanen with an eloquent and nuanced timbre…”
Scènes Magazine
“With his lyrical tenor, Mykkanen creates magical moments that remain just as captivating even in the most pronounced forte passages.”
Jungfrau Zeitung
“In the title role, the young Finnish-American tenor Miles Mykkanen proves capable of conveying all the melancholic poetry of Voltaire’s hero, with a suave timbre that can be both powerful and infinitely tender, as in the moving ‘Nothing More Than This.’”
Musik & Theater
“On stage, all eyes are undeniably drawn to Mykkanen, thanks to the remarkable quality of his timbre and the meticulous attention he gives to a vocal line that soars effortlessly into the upper register during intimate moments. His portrayal is deeply moving, as he imbues the character with a constant sense of wide-eyed innocence.”
Crescendo Magazine
“This pure-hearted man is portrayed by the natural charisma and pristine voice of Miles Mykkanen. The Finnish-American tenor captivates from start to finish as Candide—first delighted, then worn down by life’s injustices.”
24 heures
“An outstanding performance… The title role is magnificently performed by American tenor Miles Mykkanen.”
Radio Télévision Suisse
“The vocal cast is nearly ideal. Candide is masterfully portrayed by Miles Mykkanen, who effortlessly embodies the hero’s good-natured and naive qualities. His voice is stunningly even across the entire range, delivering both sweetness and nuance.”
ConcertoNet
“Mykkanen brings a natural charisma and an immaculate voice to the role of Candide. The Finnish-American tenor captivates from start to finish.”
Opera Online
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Festival d’Aix-en-Provence
L’incoronazione di Poppea
Credit François de Maleissye
Festival d’Aix-en-Provence
L’incoronazione di Poppea
2022
“To hear young, fresh artists in this piece, in this theater, was a joy. Miles Mykkanen was uproarious, but not grotesque, as the opera’s two old women…”
New York Times
“The farcical sequences—reminiscent of Mrs. Doubtfire—by the excellent Mykkanen, who plays a double role as two nurses (!), balance out one of the most poignant moments of the evening: Arnalta’s lullaby to her mistress, Poppea.”
Bachtrack
“Mykkanen devoured the comic possibilities of Poppea’s old nurse Arnalta while remaining alert to the character’s place within the unfolding story.”
Opera Magazine
“Mykkanen produced a larger than life portrait of the Nutrice and Arnalta, hamming up the comedy for all it was worth, for which he showed a definite talent. The fact he is playing female roles, and at one point disguises himself as a man, allowed for plenty of deliberate confusion over gender, and the seduction scene with Valletto was very amusing.”
OperaWire
“The singing is in full bloom… Mykkanen is priceless in the dual role of Arnalta and the Nurse—what energy, what comic instinct!”
Forum Opéra
“Mykkanen, who took on a triple role as Arnalta, Nutrice, and Famigliare I, was truly dazzling, both vocally and theatrically. While he occasionally used falsetto, he sang mostly in his natural tenor voice. As an actor, he was absolutely hilarious in his portrayals of both nursemaids—Poppea’s and Ottavia’s—switching wigs for each character. He also delivered one of the most beautiful lyrical moments of the evening in Poppea’s dream scene.”
Mundo Clásico
“The priceless Mykkanen seamlessly shifts his character from Arnalta to the Nurse in an astonishing double act.”
Díapason Magazine
“Mykkanen was a tender and serious Arnalta and highly amusing Nutrice, the comedy never descending to hamminess.”
Opera Now
“Brimming with youth, beauty, commitment, and credibility, the cast’s meticulous preparation is evident, as is their sheer joy in being on stage to sing and act. Special mention goes to the Nurse roles, played and superbly sung by Mykkanen.”
Première Loge
“With remarkable finesse, Mykkanen—disguised as both the Nurse and a lady-in-waiting with a touch of Lady Di—brings the perfect dose of comedy and grotesque flair needed for this production. He delivers his hilarious role brilliantly, and his sheer joy in performing is infectious.”
Un Fauteuil pour L’Orchestre
“Mykkanen delivers a delightfully exuberant performance, alternating in drag between the roles of Arnalta and the Nurse. His vibrant comedic energy is perfectly complemented…”
SceneWeb
“It would be impossible not to mention…Mykkanen, with his uncanny resemblance to Bianca Castafiore, absolutely hilarious and outstanding in the cross-dressed roles of confidante and nurse.”
Concert Classic
“The roles crafted by Mykkanen (Arnalta, the Nurse, Famigliare I) make both the singer and his characters—comedic before their time—the cornerstone of the drama. His entirely cross-dressed roles call upon the bold and robust assurance of his vocal delivery, the rugged amber hue of his timbre, and the virtuoso versatility of his expressive range.”
Ôlyrix
“Mykkanen, in full command of his abilities, delivers a showstopping performance as Arnalta and the Nurse, fully embracing the theatricality of these roles. His portrayal is both skillful and expressive, bringing a dynamic presence to the stage.”
Opera Online
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The Metropolitan Opera
Boris Godunov
Credit Marty Sohl
The Metrpolitan Opera
Boris Godunov
2021
“The tenor Miles Mykkanen, as the plangent Holy Fool who haunts Boris, is excellent.”
New York Times
“The character of the Holy Fool, hauntingly sung and acted here by Miles Mykkanen, clearly represents Boris’ conscience, and Wadsworth fascinatingly has him confronting the Tsar-to-be on an empty stage before a note of music is played. The Fool appears often – twirling madly when not singing…”
Bachtrack
“As the Holy Fool, Miles Mykkanen was present throughout the first scenes of the work, as the man haunting Boris. One could see the suffering of his character from the onset with his jittery movements and his fearful face. He was the representation of the victim of the abuses of Boris’ power. And when he finally got a chance to sing in his short interlude, he delivered it with a lamenting tone that emitted the pain of his character. In his brief interaction with Boris, in which he asks him to kill the children who stole his koprek, Mykkanen’s voice was brooding as he warned Boris he would not intercede to the gods.”
OperaWire
“The Met has assembled an excellent cast without a weak link… Kudos to the beautiful tenor voice of Miles Mykkanen as the Fool.”
Ludwig van Toronto
“Tenor Miles Mykkanen was outstanding in the showy role of the Holy Fool who taunts Boris…”
Broadway World
“Mykkanen’s piercing, plangent tenor made much of the Fool’s lament…”
Parterre Box
“Miles Mykkanen sang evocatively as the Holy Fool…”
Musical America
“Miles Mykkanen paints a poignant portrait of innocence…”
Forum Opéra
“The fine American tenor Miles Mykkanen gave it his all and sang very beautifully.”
Opera News
“Mykkanen sang the Fool’s music with the proper heartbreaking vulnerability.”
Opera Magazine
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The Metropolitan Opera
National Council Auditions Grand Finals Concert
Credit Ken Howard
Opera Columbus
The Barber of Seville
2020
“Mykkanen raised the roof with his gift for physical comedy and his gorgeous singing.”
Columbus Monthly
Sarasota Orchestra
Beethoven Symphony No. 9
2019
“All of the soloists were well-suited to the score, to each other, and the character of the text. Given the greater responsibility, Mykkanen held that heroic focus in his voice for the oddly gaited march interlude.”
Sarasota Herald-Tribune
The Metropolitan Opera
National Council Auditions Grand Finals Concert
2019
“I had my favorites, including a few I was sure would win. One was Miles Mykkanen, a tenor who brought the house down with a melting performance of Nadir’s aria from Bizet’s Les Pêcheurs de Perles.”
New York Times
“I love Lenski's aria, "Kuda, kuda...," from Tchaikovsky's Eugene Onegin, but haven't been particularly wild for the most recent versions at the Met – until tenor Miles Mykkanen took the stage and showed why he was chosen among the competition's standouts, with a soul-searing performance. He showed his strengths as an artist and vocal witchcraft, again, with "Je crois..." from Bizet's The Pearl Fishers, spinning out a fine line that was pure magic.”
Broadway World
“Mykkanen’s first selection was Lenski’s aria, “Kuda, kuda, kuda vy udalilis” from Tchaikovsky’s “Eugene Onegin.” After the soft but unsettled introduction from the cellos, Mykkanen opened with a poignant sorrow made all the more touching by his crisp diction. Through his rendition, it was not uncommon to hear a biting dejection tinge the end of his phrases, as he employed softly rolling consonants to begin stanzas. After working himself up to Lenski’s dramatic heights awaiting a duel to the death, Mykkanen de-escalated wonderfully with the way he sighed the phrase “akh, Olga, ya tebya lyubil!” His second aria, “Je crois entendre encore,” from Bizet’s “Les Pecheurs de Perles,” was of a similar romantic focus, yet Mykkanen’s artistry made this number no less mesmerizing. Nadir’s inner conflict was given with a gorgeous expression as Mykkanen sustained these delicate tones with great control, earning the huge applause which followed.”
OperaWire
“It was very easy to lose oneself in Miles Mykkanen’s voice…he sang with a ravishing yet tender tone, as if caressing each note with his voice. Lensky’s aria from Eugene Onegin was the perfect choice for Mykkanen, showcasing his sugar-plum pianissimo and soaring head voice. His performance of “Je crois entendre encore” from Les Pêcheurs de Perles was the musical highlight of the program, Mykkanen bringing out a velvety glow even in Bizet’s more declamatory phrases. The tenor’s smoothness and control (especially evident in his finely-spun high register) gave a sense of time-stopping weightlessness to Bizet’s sweeping musical gestures.”
Parterre Box
Tanglewood
Candide
credit Hillary Scott
Opera Philadelphia
A Midsummer Night’s Dream
2019
“Mykkanen is a winning Flute, his light, bright tenor deployed to full comic effect (“I kiss the wall’s hole,” gets its own round of applause). His transition from nervy juvenile into wannabe diva is a delight.”
Musical America
“As Flute, Miles Mykkanen sang with sweetness, particularly in the third act as Thisbe. He and the other Rustics did their best to enliven scenes that are often tiresome in both the play and the opera.”
Opera Magazine
Tanglewood
Candide
2018
“Candide was the astonishing Oliver Hardy-looking Myles Mykkanen with a remarkably supple tenor voice that still, days after hearing it, lingers in my mind… The musicianship throughout — instrumental and vocal — was extraordinary. The vocalizing in particular was rich and expressive; at once light as air and as profound as the longing of some its characters, Mykkanen's astonishing ability to hold a note until it began to fade of its own necessity created the evening's most heart-wrenching moments in Candide's two meditations, ‘It Must Be So’ and ‘It Must Be Me.’”
Berkshire Eagle
“Candide was the excellent Miles Mykkanen, styled as Charlie Chaplin’s Little Tramp, and an unending stream of sideshow business. Mykkanen sang and spoke feelingly and superbly, with crystalline diction, a powerful lyric sound seemingly capable of infinite dynamic gradations.”
Opera Magazine
Canadian Opera Company
The Nightingale and Other Fables
2018
“Mykannen, a bright, confident tenor, is especially memorable for his brilliant acting in the piece.”
Broadway World
“Mykkanen is especially humorous in altering his tone to suit the fox’s several disguises.”
Stage Door
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Arizona Opera
Candide
Credit Tim Trumble
Palm Beach Opera
Candide
2018
“Mykkanen, the tenor who sang the title role, might be the best of all possible Candides, an appealingly earnest young optimist in lederhosen whose rich rendition of 'It must be so' was a highlight.”
Opera Magazine
“PBO has fielded a dream cast that does full justice to Bernstein’s memorable melodies. In the title role, Miles Mykkanen’s boyish demeanor, dulcet lyric tenor, and reserves of vocal power and stamina perfectly embodied the naive protagonist. Mykkanen actually made one believe that Candide could endure war, poverty, and the death and enslavement of friends and lovers and still remain optimistic with his sheer theatrical aplomb... He movingly captured the pathos of “It Must Be So” and “Is This All Then?” Mykkanen’s English diction was absolutely clear, whether singing or in spoken dialogue.”
South Florida Classical Review
“Tenor Miles Mykkanen in the title role sang with resonance and spot-on spirit, delivering a show-stopping “It Must Be So.” Clad in lederhosen, Mykkanen’s Candide was grinning and guileless – a definite highlight.”
Schmopera
“Top Ten Performances of 2018: There could hardly be a more celebratory event for the 100th anniversary of Leonard Bernstein’s birth than Palm Beach Opera’s presentation of Candide in February. Perhaps Bernstein’s most sparkling and inventive score, Candide has long been a theatrical problem child. Superb performances by Miles Mykkanen, Alisa Jordheim, and Denyce Graves contributed to one of PBO’s finest productions ever.”
South Florida Classical Review
Arizona Opera
Candide
2018
“The show was a bonanza of outstanding performances, featuring Miles Mykkanen as the peripatetic (or, shall we coin a word, peripathetic) Candide, who rationalizes his multiple encounters with disaster through the rose-colored glasses of his mentor…”
Broadway World
“Mykkanen was Candide, the man who originally believed he lived in the best of all possible worlds, sang with a pleasant resonant sound and seemed to be enjoying the part immensely.”
Opera Today
“Mykkanen, in his first Arizona appearance, was equally funny as Candide and employed the full breadth of his vocal range, from the lyrical intensity the higher he soared to the vulnerability at his midrange.”
Arizona Daily Star
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Opera Columbus
The Turn of the Screw
Credit Terry Gilliam
Opera Columbus
The Turn of the Screw
2017
“On Friday, the performers were in tune with their characters. Especially expressive were Price, who sang in tones stricken and resolute; and Mykkanen, whose assertive voice projected a sense of real danger. “I’m all things strange and bold,” Quint says in the libretto by Myfanwy Piper — and Mykkanen surely was.”
Columbus Dispatch
Juilliard Opera
Kát’a Kabanová
2017
“Singing in English seemed to embolden the gifted students of this strong cast. Mykkanen conveyed the mix of insecurity and earnestness in Tichon, Katya’s husband, who lives in fear of his caustic and possessive mother…”
New York Times
“Tichon was splendidly sung by Mykkanen with a clear tenor and crisp diction.”
Musical America
“Tichon, her weak and abusive husband, is tragically obedient to his dominating mother and incapable of protecting his wife. Mykkanen portrayed his vacillations and frustrations with flair.”
Bachtrack
“Mykkanen has such a particular talent in recital that it is astonishing to see him melt into his character on the opera stage. He looked and sounded exactly right as the bullied son Tichon, strangely bound to his miserable mother.”
Voce di Meche
“Mykkanen’s Tichon erred on the side of restraint but maintained a confident presence, skillfully navigating the delicate balance between his devotion to his loving wife and his overbearing mother.”
Codalario
Bard Summerscape
Halka
2017
“As Jontek, Mykkanen showed a sturdy and ardent sound. While he sang with a passionate and ardent timbre throughout the evening, his Act 4 aria allowed the tenor to display the subtle pianos in his voice as well as the tender qualities the instrument can produce.”
OperaWire
“As the two men in Halka’s life, Miles Mykkanen and Aubrey Allicock excelled. Mykkanen, the hapless Jontek, radiated good will and concern while singing with increasing ardor and alarm... He displayed again an especial flair for Eastern European opera; he had made a strong impression earlier this year as Tichon (another poor sap) in Juilliard’s production of Janacek’s Katya Kabanova.”
Parterre Box
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Palm Beach Opera
Candide
credit Bruce Bennett
Orlando Philharmonic
Candide
2016
“Candide is played by the wonderful tenor Miles Mykkanen. Throughout, Mykkanen maintains a formidable brightness that allows his character to believably fight off the understandable despair that he feels at each more demoralizing turn. When he delivers the show's final song, "Make Our Garden Grow," all of the earned emotion comes seeping out of his voice in an overwhelmingly affecting way. His voice is strikingly pure but also powerful, allowing the audience to accept that his otherworldly innocence is, in fact, authentic.”
Broadway World
“Candide, as embodied by Miles Mykkanen, is a winningly sympathetic character with a golden tenor voice. Mykkanen sings with great beauty and sweetness.”
Orange Observer
Juilliard Opera
Eugene Onegin
2014
“At least as good was Miles Mykkanen, whose tenor showed a metal that should serve him well in larger auditoriums, as Lensky.”
New York Times
“Another singer who sounded Russian – and uncannily so, without any of the drawbacks associated with Russian tenors – was Miles Mykkanen, who offered a gorgeously lyrical Lensky.”
Opera Magazine