© Andrew Keshan
Parsifal, Opera Australia/Sydney Opera House, August 2017
“…Making his role debut as Amfortas, Michael Honeyman showed that his fine King Roger was no flash in the pan. Looking gaunt and pale, he caught the tortured King to a tee, his voice firm and steady, rising effortlessly to the tricky higher notes that bedevil the role…this was a most auspicious reading boding well for a future Wagnerian career.’
Clive Paget, Limelight Magazine, 10 August 2017
“Taking the role of the wounded Amfortas, who represents the spirit in agony, Michael Honeyman's voice captured rich autumnal colours to bring out the character's poignancy.”
Peter McCallum, Sydney Morning Herald, 10 August 2017
King Roger, Opera Australia, January 2017
“…Baritone Michael Honeyman gave his best OA performance as the anxious, uptight Roger. His neurotic, restless energy conveyed the king’s inter torment and indecision. Firm across his range, he exhibited a good sense of line and strong dynamic control.”
Murray Black, The Australian, 20 January 2017
“…Michael Honeyman captures the conflicted psychology of Roger in singing of leavened complexity, opening out with commanding force in the third act.”
Peter McCallum, Sydney Morning Herald, 23 January 2017
“…Baritone Michael Honeyman gave his best OA performance as the anxious, uptight Roger. His neurotic, restless energy conveyed the king’s inner torment and indecision. Firm across his range, he exhibited a good sense of line and strong dynamic control.”
Murray Black, The Australian, 23 January 2017
Amonasro, Aida, Handa Opera on Sydney Harbour
“…Michael Honeyman gives a commanding performance as Aida’s father Amonasro, lifting the stage energy from his first appearance”.
Simon Parris, Man in Chair, March 2015
Madama Butterfly, Opera Australia Handa Opera on the Harbour
“…Baritone Michael Honeyman was a sympathetic, firm-voiced Sharpless”.
Murray Black, The Australian, March 2014
Carmen, Opera Australia
“Michael Honeyman…with a prepossessing surety of tone right across his range.”
Lloyd Bradford Syke, Crikey.com, February 2014
A graduate of both the Australian National University Canberra and the Australian Opera Studio Perth, Michael Honeyman began his career singing roles such as Lescaut (Manon), Eisenstein (Die Fledermaus), Peter (Hansel and Gretel), Raul St. Brioche (The Merry Widow), Publio (La Clemenza di Tito), Nardo (La Finta Giardiniera), Macheath (The Threepenny Opera), Sam (Trouble in Tahiti), and Salieri (Mozart and Salieri).
In 2020 Michael was heard as Valentin (Faust) for Opera Australia. He was also engaged to perform Giorgio Germont (La Traviata, Handa Opera on Sydney Harbour) and Duke Alfonso (Lucrezia Borgia) for Opera Australia. On the concert platform he was to be heard in Brahms Requiem with the Sydney Symphony Orchestra under David Robertson, Beethoven Symphony No. 9 with the Queensland Symphony Orchestra, under the baton of Simone Young and Mahler Symphony No. 8 with the Melbourne Symphony Orchestra and Sir Andrew Davis in the Margaret Court Arena. Amongst his 2021 engagements, Michael returns to the harbour stage in 2021 to perform Giorgio Germont in La Traviata for Handa Opera on Sydney Harbour and later in the year will be heard as Amonasro (Aida).
Since performing his first Verdi role, Amonasro (Aida), for which he subsequently received a Green Room Award nomination for Best Male in a Supporting Role (2013), Michael has now gained a reputation as a specialist in the dramatic baritone roles of Verdi and Puccini.
For Opera Australia Michael’s leading roles include the title role of King Roger in Sydney and Melbourne, for which he received the Green Room Award for Male Lead in an Opera and a nomination for a Helpmann Award for Best Male Performer in an Opera and the title role in Wozzeck (Berg) for which he received a Helpmann Award in the category of Best Male Performer in an Opera in 2019. He has also performed the title role in Simon Boccanegra, Miller (Luisa Miller), Escamillo (Carmen), Ford (Falstaff), Di Luna (Il Trovatore), Sharpless (Madama Butterfly), Donner (Das Rheingold), Sciarrone (Tosca) Ortel (Die Meistersigner von Nürnberg), Amfortas in a concert performance of Parsifal, Amonasro in Aida at Opera on the Beach and at Handa Opera on Sydney Harbour and appeared as a soloist in Opera Australia’s New Year’s Eve Gala.
Significant roles he has covered for Opera Australia include Scarpia (Tosca), Kothner (Die Meistersigner von Nürnberg), Don Carlo (La Forza del Destino), Iago (Otello), and Giorgio Germont (La Traviata), Carlo Gerard (Andrea Chenier) and Valentin (Faust).
Michael’s debut with Sydney Symphony Orchestra was as Ned Keene (Peter Grimes) which he also performed for Brisbane Festival. He has also worked with both West Australian Opera and State Opera of South Australia, and performed in Beethoven’s 9th Symphony as part of the 40th birthday celebrations of the Sydney Opera House.
Equally at home on the concert platform, he recently performed Elijah with the Sydney Philharmonia. His concert repertoire also includes Mozart Requiem and Mass in C Minor, Handel Messiah, Rachmaninov Vespers, and recitals for ArtSong Perth and ABC FM radio. In 2013 Michael was presented with the Australian Opera Auditions Committee Dame Joan Sutherland Scholarship, which enabled him to travel to New York, receiving instruction from leading opera conductors, teachers and coaches, associated with The Metropolitan Opera.
Michael Honeyman is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication.
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