Picker's Therese Raquin

"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." MARK SWED - Los Angeles Times

"The voices of the cast were all uniformly excellent as well, un-miked and left to be heard with their natural resonances, unquestionably the proper choice for this space and production. In fact, I was greatly surprised by how few times I had to check in with the super titles as the casts' excellent diction and projection greatly paid off." JONATHAN ROSS - Long Beach Post

"John Matthew Myers lends his polished tenor to the role of Monsieur Grivet, Camille’s office supervisor and an occasional suitor to Mme. Lisette. He and Olivier enliven the opera with its only bit of lighthearted silliness, as they bounce on the wedding bed together and scheme to scatter nettles in it, to tease the newlyweds on their wedding night." CORIL PROCHNOW - Lauraslist.com

Hagen's Amass

"The three excellent soloists were Jennifer Zetlan, John Matthew Myers and Mischa Bouvier." ARLO McKINNON - OperaNews

Verdi's La Traviata

"As Alfredo, John Matthew Myers’ tenor was as smooth and rich as butter, a good fit for a romantic lead." REBECCA SEDLAK - Coast Weekend

Kálmán's The Gypsy Princess

"Almost equal in stage time was another tenor, John Matthew Myers, as Edwin's fun-loving best friend. His genial presence and strong voice were unexpected pleasures..." STEVE COHN - The Opera Critic

"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." TOM PURDOM - Broad Street Review

Gordon's Van Gogh/Copeland's Tell Tale Heart

"gorgeous-voiced tenor John Matthew Myers...the letter-singing/reciting trio of Ashley Knight, John Matthew Myers, and Jason Switzer brought great pleasure musically" DAVID GREGSON - Opera West

"For Van Gogh, he assembled three compelling singers in soprano Ashley Knight, tenor John Matthew Myers and bass Jason Switzer" MARK SWED - Los Angeles Times

"John Matthew Myers, the tenor in the group, was equally strong as a singer, as well as an actor. The pain of a tortured mind was clear across his face, as well as in his voice....Myers also returned, playing both a skittish, nerdy neighbor and one of the police officers who show up to investigate the victim’s screams. This time, we get to see more of his comedic side as he fends off the party girls as the neighbor and nonchalantly chomps donuts as the cop." BRENNA SMITH - Edge Los Angeles

"The singers, three of whom performed in both operas, were uniformly strong and committed...John Matthew Myers’ sweetly ringing tenor was luxury casting for his roles." MICHAEL VAN DUZER - Stage Happenings

"Additionally, John Matthew Myer’s clear tenor voice is a pleasing respite to the unnerving displays to which we are treated" BEN MILES - Beach Comber

“Myers….with his cherub-like voice…" BONDO WYSZPOLSKI – Easy Reader

"Ashley Knight, Danielle Bond, John Matthew Myers and Jason Switzer formed a quartet of distinct personalities, convincing acting and terrific voices." JIM RUGGIRELLO - Gazettes

Britten's War Requiem

"The Owen poems were sung with a blend of poignancy and grim honesty by the warm lyric tenor John Matthew Myers..." ANTHONY TOMMASINI - New York Times

"Tenor John Matthew Myers sang with a plaintive, clear and warm timbre" - Oberon's Grove

Ortiz's Camelia La Tejana

"John Matthew Myers, as El Periodista, put his gorgeous, well-supported lyrical tenor in service to his character’s obsession with the figure of Camelia" - Singerpreneur/Lauraslist

"As the various media folks and academics, John Atkins, John Matthew Myers, Adam Meza, Nova Safo, Maria Cristina Navarro, Susan Kotses and David A. Blair contribute to a compelling overall performance." MARK SWED - Los Angeles Times

"John Matthew Myers is earnest as can be as the inquiring reporter for la Jornada." GEORGE M. WALLACE - A Fool In The Forest

"The main singers were also superb...tenor John Matthew Myers were also among the stand-outs." TED AYALA - Bachtrack

Rossini's Moïse et Pharaon

"Making worthy contributions to the evening, in the remaining solo roles, were tenor Michele Angelini as Éliézer (Aaron), mezzo-soprano Ginger Costa-Jackson as Marie (Miriam), tenor John Matthew Myers as the Hebrew Priest Ophide..." BRUCE-MICHAEL GELBERT - [Q]onStage

Beethoven's The Muir

"And there is, as always with Mr. Morris and as so rarely elsewhere in modern dance, live music: three singers, five instrumentalists.....The words of the tenor, John Matthew Myers, were exemplary, especially in “Sally in Our Alley." (How did Beethoven come to treat “Sally" as a Scottish song? Its words are in English dialect, and were also arranged — with different final stanzas and a funnier punch line — by Benjamin Britten.) The immediacy of the music making is a perfect match for the freshness of the dancers." ALASTAIR MACAULAY - New York Times

"All tactics are on view in the charming sextet, The Muir, which is set to a selection of Beethoven’s arrangements of Scottish and Irish folk songs (for this the three above-mentioned instrumentalists are joined by excellent singers: mezzo-soprano Irene Snyder, tenor John Matthew Myers, and baritone Jorell Williams)." DEBORAH JOWITT - The Village Voice

Mercadante's Virginia
"American tenor John Myers (Valerio) completed the strong line up." CLAIRE SEYMOUR - Opera Today

"Marcella Walsh and John Myers are stalwart Virginia confidantes." PAT O'KELLY - Irish Independent

Mozart's Le Nozze di Figaro

"Fine performances by all concerned, including Stephen Lord, the conductor of members of the SLSO. Hat’s off in particular to Maria Kanyova (Susanna), Christopher Feigum (Figaro), Amana Majeski (Countess), Edward Parks (Count), Jamie Barton (Marcellina) and John Matthew Myers (lawyer)." BILL TOWNSEND - St. Louis Classical Music Examiner

"Three Gerdine Young Artists impressed: bass Bradley Smoak as Antonio, soprano Elizabeth Zharoff as Barbarina and tenor John Matthew Myers as Don Curzio." SARAH BRYAN MILLER - St. Louis Post-Dispatch

"John Matthew Myers delivered one of the evening’s best punchlines as a deadpan Don Curzio." ALISON MORITZ - Opera Today

"Three Gerdine Young Artists to watch are bass Bradley Smoak (a sturdy Antonio), tenor John Matthew Myers (Curzio) and the opulent-voiced soprano Elizabeth Zharoff (a fascinating Barbarina)" JUDITH MALAFRONTE - Opera News

"The vocal work and much of the acting was outstanding...John Matthew Myers as the lawyer, his character and actions unchanged in more than two centuries." JOE POLLACK - St. Louis Eats and Drinks With Joe and Ann Pollack

An Evening with Ricky Ian Gordon

"On Monday, Ricky Ian Gordon, another exciting American composer, presented his recent songs at Cliburn at the Modern. The pieces were exquisitely performed by four marvelous college-age singers -- soprano Elizabeth Zharoff; mezzo Naomi O'Connell; tenor John Myers and baritone Geoffrey Sirett. Each gave insightful and beautifully nuanced performances.

On Pont Mirabeau, Myers' expansive tenor expressed pathos and hope. O'Connell sang the intense poems of Late Afternoon with a silky voice and phrases ripe with color." CHRIS SHULL - Star-Telegram

Faure's Penelope

"Among the suitors, John Myers brought a mellow, Hylas-worthy tenor to the (relatively) sensitive Antinoiis" DAVID SHENGOLD - Opera Magazine

"Fastidious preparation seems to have paid off handsomely, even in the supporting roles, which were delivered with expressive confidence and solid vocal skill. Victoria Vargas as the nurse Euryclée, Robert E. Mellon (Eumée), John Myers (Antinoüs) and Joo Won Kang (Eurymaque) were especially fine. There were no weak links." DAVID J. BAKER - Opera News