MilesMykkanen

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  • Tenor
Credit: Katja Hentschel
Credit: Katja Hentschel

About Miles

The career of exuberant young Finnish-American tenor Miles Mykkanen was launched with a national win of the Metropolitan Opera Laffont Competition in 2019. He has since impressed with a series of important debuts on the world’s major stages, including Bayerische Staatsoper, Canadian Opera Company, Royal Opera House Covent Garden, and the Metropolitan Opera, where The Times declared him “the pick of the cast, whose flexible tenor lends lyricism and strength” in his star turn as Sam Clay in the house premiere run of The Amazing Adventures of Kavalier & Clay.

In the 26/27 season, Mykkanen returns to Dutch National Opera as Ejlert Løvborg in the world premiere of Vasco Mendonça’s take on the Ibsen classic Hedda Gabler. He sings his first performances as Belmonte in Die Entführung aus dem Serail at Ravinia Festival, with James Conlon on the podium, and brings his “poignant lyricism and vibrant tone” (San Francisco Classical Voice) to Tamino in Die Zauberflöte at London’s Royal Ballet & Opera at Covent Garden. Elsewhere, he appears in concert with Colorado Springs Philharmonic and San Francisco Symphony.

Mykkanen has quickly become the go-to tenor for roles requiring a deft balance of power, lyricism, and dramatic acuity, including Sam Clay in The Amazing Adventures of Kavalier & Clay at the Metropolitan Opera, a new Barrie Kosky production of Die Fledermaus and Philip Venables’ world premiere We Are The Lucky Ones, both at Dutch National Opera, a new Ted Huffman production of L’incoronazione di Poppea at Festival d’Aix-en-Provence, and the North American premiere of Kaija Saariaho’s Innocence at San Francisco Opera and the Met. Additional appearances include Die tote Stadt (Bayerische Staatsoper), Falstaff (Staatsoper Hamburg), Candide (Opéra de Lausanne, Ravinia, Tanglewood), Silent Night (Houston Grand Opera, Minnesota Opera), Die Zauberflöte (LA Opera), A Midsummer Night’s Dream (Opera Philadelphia), and Boris Godunov, Die Meistersinger von Nürnberg, Ariadne auf Naxos, and Wozzeck, all at the Met. His Albert Herring at Chicago Opera Theater was praised by Opera News for “an appealing honeyed sweetness which he employed with intelligence and humor.”

Mykkanen has performed under the baton of Franz Welser-Möst(Ariadne auf Naxos, Jenůfa, and Beethoven Symphony No. 9 with Cleveland Orchestra), Krzysztof Urbański (Carmina Burana with Atlanta Symphony Orchestra), Manfred Honeck (Bruckner’s Te Deum with Pittsburgh Symphony), Tito Muñoz (Beethoven Symphony No. 9 with Phoenix Symphony), Nathalie Stutzmann (Missa Solemnis with Atlanta Symphony Orchestra), and Leonard Slatkin (West Side Story with New York Philharmonic and Mohammed Fairouz’s Another Time with Detroit Symphony). His in-demand interpretations of Handel’s Messiah have taken him to the symphonies of Atlanta, Kansas City, Indianapolis, and New Jersey, as well as Chicago’s Music of the Baroque with Dame Jane Glover and the National Symphony Orchestra at the Kennedy Center.

Mykkanen’s compelling blend of charisma and honesty has engaged audiences in cabaret performances at Joe’s Pub, Neue Galerie’s Cabaret at Café Sabarsky, and the Metropolitan Museum of Art, where he curated Lavender Nights, a live installation of queer anthems. He honed his artistic flexibility in explorations of chamber music and art song with legendary musicians like Mitsuko Uchida, Malcolm Martineau, Roger Vignoles, and Steven Blier at the Marlboro Music Festival, New York Festival of Song, New World Symphony, Philadelphia Chamber Music Society, and Chamber Music Society of Lincoln Center. He is proud to have been featured in Juilliard’s annual Alice Tully Vocal Recital in his Carnegie Hall solo recital debut.

A proud Yooper from Michigan’s Upper Peninsula, Mykkanen leveraged his pandemic downtime to create community around the arts in his hometown of Ironwood. As founding Artistic Director of the Emberlight Festival, he has built a formidable board, raising more than $900,000 in a county where the annual median income is $29,000. Through its annual summer programming, Emberlight has now produced over 160 events – including chamber music, cabaret, theater, visual art, and folk art. Its film festival has received submissions from more than 80 countries, while performance infusions feature regional artists in everything from Ojibwe basket weaving to wool waulking. More than 70% of those events have been free to attend, ensuring that the arts are accessible to everyone in the rural region.

Mykkanen is grateful for the support he has received from the Richard Tucker Foundation, Sullivan Foundation, Toulmin Foundation, YoungArts, and the Juilliard School, where he received a Novick Career Advancement Grant and the Joseph W. Polisi Award. He is a graduate of the Interlochen Arts Academy and earned his BM, MM, and Artist Diploma in Opera Studies from Juilliard under the tutelage of Cynthia Hoffmann.

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Contact

Will Pate

Will Pate

Associate Artist Manager
Jack Bushell

Jack Bushell

Assistant Artist Manager

Representation

European Management with Askonas Holt General Management with Étude Arts

Season Highlights

Dec 2026 - Jan 2027
London, UK
The Magic Flute (Tamino) Royal Opera House Dalia Stasevska (Conductor)
Mar 2027
Amsterdam, The Netherlands
Hedda Gabler (Ejlert Løvborg) Dutch National Opera Corinna Niemeyer (Conductor)
Apr 2027
San Francisco, USA
The Creation San Francisco Symphony Jane Glover (Conductor)
Jul 2027
Highland Park, USA
Die Entführung aus dem Serail (Belmonte) Ravinia Festival James Conlon (Conductor)
Oct 2027
Amsterdam, The Netherlands
Festen (Christian Klingefeldt) Dutch National Opera

Selected Repertoire

Aucoin

Crossing (John Wormley)

Bates

Kavalier and Clay (Sam Clay)

Beethoven

Fidelio (Jaquino)

Berg

Lulu ( Der Maler)

Berlioz

Béatrice et Bénédict (Bénédict)   •   Les Troyens (Iopas, Hylas)

Bernstein

Candide (Candide)   •   West Side Story (Tony)

Bizet

Les Pêcheurs de perles (Nadir)

Britten

Albert Herring (Albert)   •   The Rape of Lucretia (Male Chorus)   •   A Midsummer Night's Dream (Lysander, Flute)   •   The Turn of the Screw (Peter Quint)

Delibes

Lakmé (Gérald)

Delius

A Village Romeo and Juliet (Sali)

Donizetti

L'elisir d'amore (Nemorino)

Gluck

Alceste (Admète)   •   Iphigénie en Tauride (Pylade)

Gordon

27 (Pablo Piccasso, F. Scott Fitzgerald, et al.)

Handel

Acis and Galatea (Acis)

Heggie

Moby Dick (Greenhorn)

J Strauss

Die Fledermaus (Alfred)

Janáček

Jenůfa (Števa Buryja)   •   Kát’a Kabanová (Váňa Kudrjáš)   •   The Makropulos Case (Janek)

Kevin Puts

Silent Night (Nikolaus Sprink)

Lehar

The Merry Widow (Camille, Count de Rosillon)

Mazzoli

Proving Up (Miles)

Mendoça

Hedda Gabler (Eilert Lövborg)

Moniuszko

Halka (Jontek)

Monteverdi

L’Incoronazione di Poppea (Arnalta)

Mozart

Così fan tutte (Ferrando)   •   Die Entführung aus dem Serail (Belmonte)   •   La finta giardiniera (Contino Belfiore)   •   Don Giovanni (Don Ottavio)   •   Die Zauberflöte (Tamino)

Mussorgsky

Boris Godunov (Fool)

Poulenc

Dialogues des Carmélites (Chevalier de la Force)

Puccini

Gianni Schicchi (Rinuccio)   •   La Rondine (Prunier)

R Strauss

Ariadne auf Naxos (Brighella)   •   Capriccio (Flamand)   •   Der Rosenkavalier (Italian Tenor)   •   Salome (Narraboth)

Ravel

L'Enfant et les Sortilèges (Teapot) (Little Old Man) (Frog)

Saariaho

Innocence (Groom)

Smetana

The Bartered Bride (Jeník Vasek)

Spears

Fellow Travelers (Timothy Laughlin)

Stravinksy

The Nightingale and Short Fables (Fisherman)   •   The Rake's Progress (Tom Rakewell)

Tchaikovsky

Eugene Onegin (Lensky)

Thomas

Mignon (Wilhelm Meister)

Venables

We are the lucky ones (Five)

Verdi

Falstaff (Fenton)

Wagner

Der fliegende Holländer (Steuermann)   •   Die Meistersinger von Nürnberg (David)

News

Press

  • Die Entführung aus dem Serail

    Ravinia Festival
    Jul 2026
    • Indeed, the youthful Finnish-American artist sounded like the very model of a modern Mozart tenor. Belmonte demands sweetness and focus of timbre, elegance of line and phrasing, and perfect vocal placement. Mykkanen had it all. To cite just one example, the seldom-heard aria “Ich baue ganz” fairly glowed with beauty of tone, strength of technique and impeccable musicality.

  • Innocence

    Metropolitan Opera
    Apr 2026
    • The tenor Miles Mykkanen, as the shooter’s sibling, was most memorable, with a jovial brightness that transformed into shattering fragility, disquieting and sweet, as he admits that he still loves his brother.

    • As the truth is revealed, the spaces transform, almost magically. The saddest revelations happen here, against blank walls: the Bridegroom (the piercing tenor Miles Mykkanen) admits, ‘I loved my brother,’ he sings, a cappella. ‘I love him still.

    • Mykkanen used his forceful tenor to fine effect as the bridegroom who has a horrific secret.

      • Opera Magazine
    • Mykkanen is a tenor with baritone-like resonance, who displays real power with beautifully constructed sustained notes and intensity in each of his phrases. His control in the higher register is remarkable.

    • The cast is collectively sterling. Mykkanen’s cutting timbre was welcome as Tuomas, and he was especially strong in the opera’s final stroke, where Tuomas speaks both of his love for his brother and admits to covering up his own involvement in the shooting.

    • Mykkanen shifted from a firm tenor in the early going to more explosive in the opera’s second half. As he made his big revelation, you could feel the tenor’s voice building in its intensity.

    • The casting was strong all around. Mykkanen, the wide-eyed Clay in The Amazing Adventures of Kavalier & Clay, was convincing in the utterly different role of Tuomas, and he was vocally Stucker’s match as the young lover of operatic archetype.

    • The shocking nature of the admissions by the Bridegroom was impressively played by Mykkanen, who was notable earlier in the season as Clay in Kavalier and Clay.

  • Saariaho - Innocence

    Metropolitan Opera
    Apr 2026
    • The tenor Miles Mykkanen, as the shooter’s sibling, was most memorable, with a jovial brightness that transformed into shattering fragility, disquieting and sweet, as he admits that he still loves his brother.

  • Britten - Albert Herring

    Chicago Opera Theater
    Jan 2023
    • There were winning performances by Miles Mykkanen in the title role [...] 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

    • As Albert, tenor Miles Mykkanen displayed a lovely lyric voice with an appealing honeyed sweetness in the timbre, which he employed with intelligence and humor

      • Opera News
  • Mussorgsky - Boris Godunov

    Metropolitan Opera, New York
    Sep 2021
    • And this was a cast of sonorous, articulate singing talkers […] The mezzo-soprano Tichina Vaughn, as a piquant inn hostess, and the tenor Miles Mykkanen, as the plangent Holy Fool who haunts Boris, are both excellent.

    • 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. Boris recoils from the Fool immediately and takes refuge in the monastery. The Fool appears often – twirling madly when not singing – a constant reminder of Boris’ guilt

    • Spinning like a top and scattering balletic anguish […] the fine American tenor Miles Mykkanen gave it his all and sang very beautifully

      • Opera News
      • 30 September 2021
  • Die Zauberflöte

    LA Opera
    May 2026 - Jun 2026
    • Romantic hero Tamino, bouncy Finnish tenor Miles Mykkanen, was sung with poignant lyricism and a vibrant tone.

    • Mancasola and Mykkanen, as Pamina and Tamino, are likable, lyric lovers.

    • The choreography between live performers and animation is astonishing, and the cast rose magnificently to the challenge – Mykkanen brings warmth and heroism to Prince Tamino.

    • Mykkanen makes an impressive company debut as Prince Tamino, bringing both vocal power and sincerity to the role.

    • Mykkanen’s Tamino had the bright, ardent lyric tenor the part wants, and the rarer instinct to wait: he held back in the portrait aria, let the line gather, and reached the high note as if surprised to find it there.