It was very easy to lose oneself in Miles Mykkanen’s voice: even at his loudest 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., Callum John Blackmore

Miles Mykkanen was a knockout as Lensky. The Russian language brought out a squillante quality in his tenor, thrilling to hear in the confines of the Willson Theater. The lyric intensity of his singing made each moment count, and the duel-scene aria was a stretch of sheer vocal gold.
Opera News, Fred Cohn

Tenor Miles Mykkanen stood out for his ardent, irascible performance as Nikolaus Sprink, the German soldier voicing his disillusion with the overlords who make war happen.
Minnesota Star Tribune, Terry Blain


A winner of the 2019 Metropolitan Opera National Council Auditions, Miles Mykkanen has garnered recognition on the world’s concert and operatic stages for his “focused, full-voiced tenor” (The New York Times).  Of his performances in Eugene Oneginat the Juilliard School, Opera Newswrote, “Mykkanen was a knockout as Lensky. The lyric intensity of his singing made each moment count, and the duel- scene aria was a stretch of sheer vocal gold.”

The 2018-19 season sees Miles Mykkanen making debuts at Minnesota Opera as Lt. Sprink in the Pulitzer Prize-winning opera Silent Night by Kevin Puts and Mark Campbell, at Opera Philadelphia as Flute in Robert Carsen’s production of A Midsummer Night’s Dream conducted by Corrado Rovaris, and with Franz Welser-Möst and The Cleveland Orchestra singing Brighella in fully-staged performances of Ariadne auf Naxos.  The tenor joins the roster of the Bayerische Staatsoper covering the role of Admète in Gluck’s Alceste in a new production by Sidi Larbi Cherkaoui led by Antonello Manacorda.  On the concert stage, Messiah brings the tenor together with the Atlanta Symphony Orchestra, the National Symphony Orchestra at The Kennedy Center, and to the University of Michigan’s Hill Auditorium under the auspices of the University Musical Society.

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Miles Mykkanen was heard throughout the 2017-18 season in the title role of Bernstein’sCandide with performances at Arizona Opera, Palm Beach Opera, and at Tanglewood with The Knights.  He bowed as Peter Quint in Britten’s The Turn of the Screw for Opera Columbus in a new production by Stephen Wadsworth and the music of Stravinsky served the tenor’s debut at the Canadian Opera Company in Robert Lepage’s The Nightingale and Other Short Fables.  The tenor made a New York Philharmonic debut in a program of excerpts from West Side Story conducted by Leonard Slatkin and joined the Bard Music Festival for performances of Moniuszko’s Halka and Berlioz’s Roméo et Juliette with Leon Botstein conducting the American Symphony Orchestra.

Miles Mykkanen spent the past two summers at the Marlboro Music Festival where his performances have spanned from art songs of Brahms and Britten to chamber music of Brett Dean with distinguished guest artists Mitsuko Uchida, Malcolm Martineau, Roger Vignoles, and many others.

Additional highlights include performances of Handel’s Messiah with the New Jersey Symphony and Indianapolis Symphony, Verdi’s Otello with Robert Spano leading the Atlanta Symphony Orchestra, and Bernstein’s Songfest with his frequent collaborators, Steven Blier, Michael Barrett, and the New York Festival of Song.  He also has collaborated with Juilliard415, the Mostly Mozart Festival Orchestra, New World Symphony, Philadelphia Chamber Music Society,andwith members of the Pittsburgh Symphony Orchestra.

Opera credits include performances of Mozart’s Die Entführung aus dem Serail with Opera Columbus, Janáček’s Káťa Kabanová in a new Stephen Wadsworth production at Juilliard conducted by Anne Manson, as well as Die Zauberflöte, Eugene Onegin, Il barbiere di Siviglia, Les mamelles de Tirésias, La finta giardiniera, Der Kaiser von Atlantis, The Cunning Little Vixen, and Dialogues of the Carmelites.  Miles Mykkanen is a champion of new music and has given the world premieres of Ricky Ian Gordon’s Twenty-Seven, Jack Perla’s Shalimar the Clown, and of Matthew Aucoin’s Crossing at the American Repertory Theatre directed by Diane Paulus.  Opera News wrote, “Miles Mykkanen’s work was especially distinctive: his burnished high tenor seemed like the organizing principle around which the other voices cohered.”

PBS Great Performances produced a documentary of Renée Fleming’s American Voices festival in 2015, featuring Miles Mykkanen in a master class with Tony Award-winner Sutton Foster.  He also was seen on in Juilliard’s live-stream master classes with Renée Fleming, Fabio Luisi, and Emmanuel Villaume, respectively.  The tenor is a youngARTS Gold winner and the recipient of prizes from the Sullivan Foundation, Toulmin Foundation, Novick Career Advancement Grant, and Juilliard’s Joseph W. Polisi Award.  Recently graduated from The Juilliard School with an Artist Diploma in Opera Studies, Miles Mykkanen earned his Bachelor’s and Master’s degree from the school under the tutelage of Cynthia Hoffmann.


Comfort ye my people...Every valley


Let the Florid Music Praise


Eugene Onegin: Master Class with Renée Fleming


Finishing the Hat


General Management
Bill Palant, Étude Arts
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