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American Tenor

"Michael Boley brought down the house with his rendition of ’Nessun Dorma'."

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Randsman Artist Management

For booking please contact


Peter Randsman

​400 West 43rd street Apt. #18E

New York, NY 10036

Randsman@aol.com

212.244.5874

Media

Nessun Dorma -  Turandot

Media

I’m not a boy - Streetcar Named Desire

Media

Recondita Armonia  -  Tosca

Biography

American tenor Michael Boley is rapidly climbing the operatic ranks. A native of Ohio, Michael began his career with Columbus Opera. Mr. Boley appeared there in productions of La Bohème, Aida, Rigoletto, Tosca, Carmen, Don Giovanni, Die Zauberflöte, Susannah and Camelot. Of his Columbus Opera performances, the COLUMBUS DISPATCH extolled, “tenor Michael Boley sings with operatic power and resonance—a true find!” 

An exponent of the romantic French and Italian repertoire, recent performance highlights for the tenor include the title role in Les Contes de Hoffmann, Rodolfo in La Bohème, Pinkerton in Madama Butterfly, the Duke of Mantua in Rigoletto, Lenski in Eugene Onegin and Tamino in Die Zauberflöte. Career highlights for the tenor include Beethoven’s Symphony No. 9 with Helena Symphony Orchestra, Calaf in Turandot for Dicapo Opera, the world premiere of Anton Coppola’s La Coupe et les Lèvres at the Danny Kaye Playhouse in New York City with Inter-Cities Performing Arts and The Crucible at the National Theatre of Pécs and the Szeged National Theater in Hungary with performances telecast internationally. 


With Dicapo Opera in New York City and on tour with National Lyric Opera, Mr. Boley created a significant impression in Puccini’s La Fanciulla del West. Reviewing his performance, the CAPE COD TIMES was effusive in praise of his craft, “Outstanding among these, was tenor Michael Boley. Mr. Boley’s firm ringing tenor and suave stage demeanor augur well for a rewarding career in opera.”  Further successes include his turn as the Chevalier de Danceny in Susa’s The Dangerous Liaisons, and the Beast in Giannini’s Beauty and the Beast for Dicapo Opera, of which the NEW YORK TIMES commented, "Michael Boley sang the Beast ardently." 


The 2011/2012 season included Scriabin’s Symphony No. 1 with Helena Symphony Orchestra, Eurofest with Opera Naples and Carmen with Denyce Graves in a critically acclaimed production for Opera Charleston. The 2012/2013 season featured the tenor as Cléon in Gluck’s rarely performed The Reformed Drunkard for Little Opera Theater of New York, Lenski in Eugene Onegin for Opera Company of Middlebury and Rodolfo in La Bohème with Staten Island Philharmonic among others. In the 2014-2015 and 2015-2016 seasons, Michael was a Resident Artist with Opera San Jose, where he assumed principal assignments in Verdi’s Rigoletto, Weiser’s Where Angels Fear to Tread, Mozart’s Die Zauberflöte, Puccini's Tosca, Bizet's Carmen, and Previn's Streetcar Named Desire. In 2017, Mr. Boley returned to New York to be a part of New York City Opera’s critically acclaimed Candide directed by Hal Prince and again in the fall to sing the part of Nick while covering Dick Johnson in New York City Opera’s production of La Fanciulla del West.  The 2018 season not only brought the tenor his Carnegie Hall soloist debut but in his portrayal of Calaf with Mississippi Opera's Turandot "...he (Michael Boley) brought the house down with his rendition of 'Nessun Dorma' in the third act." (NORTHSIDE SUN/JACKSON MS)


Upcoming performances include Rodolfo in La Bohème with Mississippi Opera among others.

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Repertoire

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Roles Performed/Prepared*

Bizet - CARMEN - Don José

Giordano - ANDREA CHÉNIER - Andrea Chénier*

Gluck - THE REFORMED DRUNKARD - Cléon

Leoncavallo - PAGLIACCI - Canio*

Mascagni - CAVALLERIA RUSTICANA - Turiddu*

Mozart - DIE ZAUBERFLÖTE - Tamino

Offenbach - LES CONTES D’HOFFMANN -Hoffman

Puccini - LA BOHÉME - Rodolfo

Puccini - LA FANCIULLA DEL WEST - Dick Johnson

Puccini - MADAMA BUTTERFLY - Lt. B. F. Pinkerton

Puccini - TOSCA - Cavaradossi

Puccini - TURANDOT - Calaf

Previn - STREETCAR NAMED DESIRE - Mitch

Saint-Saëns - SAMSON ET DELILAH - Samson*

Susa - THE DANGEROUS LIASONS - Chevalier de Danceny

Tchaikovsky - EUGENE ONEGIN - Lenski

Tchaikovsky - PIQUE DAME - Hermann*

Verdi - AÏDA - Radames*

Verdi - OTELLO - Otello*

Verdi - RIGOLETTO - Il Duca

Verdi - IL TROVATORE - Manrico*

Weiser - WHERE ANGELS FEAR TO TREAD - Philip Herriton

Wagner - DER FLIEGENDE HOLLÄNDER - Erik*

Wagner - LOHENGRIN - Lohengrin*

*denotes in preparation

Listen

Concert/Oratorio

Haydn - LORD NELSON MASS - Tenor soloist

Schubert - MASS IN C NO.4 - Tenor soloist

Scriabin - SYMPHONY NO.1 - Tenor soloist

Beethoven - 9TH SYMPHONY - Tenor soloist

Mozart - REQUIEM - Tenor soloist

Verdi - REQUIEM - Tenor Soloist*

*denotes in preparation

Contact Michael

Acclaim

TURANDOT

"...he (Michael Boley) brought down the house with his rendition of 'Nessun Dorma' in the third act."

(NORTHSIDE SUN / JACKSON, MS)

LA BOHÈME

"Anchored by tenor Michael Boley's brilliant version of Rodolfo on Sunday afternoon, the beloved opera received a vote of approval from the audience."
(BROOKLYN SPECATOR)

BEAUTY & THE BEAST by Giannini

“Michael Boley, a tenor, sang the Beast ardently..."

(THE NEW YORK TIMES)

MADAMA BUTTERFLY

In his Amore o grillo, Michael Boley revealed a pleasing plangent tenor.”
(BROOKLYN DAILY EAGLE)


"Mr. Boley brought a solemn beauty to the role, singing all the phases of his delight in Butterfly from his first encounter with ther to his soul-wrenching cries at the end of the opera."
(THE POST AND COURIER / CHARLESTON, SC)

LA FANCIULLA DEL WEST

"Michael Boley gave a warm portrayal of the barman Nick with his lean tenor."

(NEW YORK CLASSICAL REVIEW)

Michael Boley showed real promise.”
(TELEGRAM AND GAZETTE / WORCESTER, MA)

"Outstanding among these was tenor Michael Boley. Boley's firm, ringing tenor and suave stage demeanor augur well for a rewarding career in opera..."
(CAPE COD TIMES)

DIE ZAUBERFLÖTE

“My initial impression was that this was a large-voiced Tamino, but considering the orchestra, that wasn't a bad thing. Michael Boley lists heavier roles than Tamino in his bio, including Hoffmann and Pinkerton, although he seemed to have scaled back somewhat for Tamino. There were many beautiful moments...”
(TAMINOPHILE@ WWW.TAMINOPHILE.COM)