Tenor | Worldwide Representation

"Myers’ sound is evenly produced and gorgeously colored throughout its range. He brought dramatic conviction to each reading, from the creeping uncertainty of the Elegy (after William Blake) to the bright and hopeful mythology of the Hymn (text by Ben Jonson). Myers’ overall performance achieved a certain dreamlike quality that suited the nighttime setting evoked by the work’s title, without growing hazy enough to eclipse its meaning or momentum."


"John Matthew Myers’ Mao showed a great command of Adams’ lyrical approach to politics. His voice has a particularly good and heroic upper register, with a tenor timbre that sometimes sounds more baritone. His expressivity connects Mao to characters like Peter Grimes—a link that I would not expect otherwise. He gave a sense of vocal dignity to a character the staging mocked most of the time."

Opera Wire

"The festival landed a most impressive 'get' in tenor John Matthew Myers, who recently starred opposite Thomas Hampson and Renée Fleming in Opéra de Paris’s 'Nixon in China.' He astonished from his thrilling entrance in 'Stabat Mater' and kept listeners at the edge of their seats wherever he appeared, his voice a thing of poignance and power."

Chicago Tribune

“Vocally, Nixon in China was a resounding success. All of the principals flourished...the magnificent John Matthew Myers, a late replacement to the production, was impressively nonchalant about his ridiculous range as Mao.”

Stage and Cinema

“Tenor John Matthew Myers’ Mao Tse-tung was brightly lighted to match his declaiming voice.”

Los Angeles Times

“John Matthew Myers unfurled a lovely, warm tenor of considerable promise in Sinodal’s sometime melismatic music.”

Opera News

"Myers, whose vocal timbre uncannily resembles that of Peter Pears, Britten’s lover and longtime muse, delivered his songs with pinpoint diction, beauty of sound and deep feeling for what the words convey."

Chicago Classical Review

“Bacchus is a famously difficult role, nearly impossible to make graceful either vocally or theatrically—but John Matthew Myers brought considerable power and ring to the line, coped with its fearsomely high attacks, and found more dynamic variety than many famous tenors have.”

Philadelphia Magazine

"Myers possesses a plangent, substantial tenor, appealingly vibrant and with a sense of considerable power in reserve, and an ardent stage presence."


“Suzanne's hapless police officer husband, Olivier, and the family friend Grivet supplied the evening's fleeting moments of amusement, thanks, respectively to Zeffin Quinn Hollis and John Matthew Myers.”

Los Angeles Times

"John Matthew Myers displayed a heroic timbre and ardent singing."

Chicago Classical Review

“As Alfredo, John Matthew Myers’ tenor was as smooth and rich as butter, a good fit for a romantic lead.”

Coast Weekend

“In the two male leads, Jeffrey Halili and John Matthew Myers proved that two tenors can occupy the same stage and convince the audience they're good friends. In addition to their technical vocal prowess, both created believable characters, Halili as the prince and Myers as the kind of sensible humorist a woman like Countess Stasi would find attractive.”

Broad Street Review

“Tenor John Matthew Myers sang with a plaintive, clear and warm timbre.”

Oberon's Grove

“Myers' expansive tenor expressed pathos and hope.”

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