Erik van Heyningen


Erik van Heyningen makes his debut with Pacific Opera Victoria in April 2020 as Escamillo in Bizet’s Carmen.

 Erik is currently participating in the Artist Diploma in Opera Studies program at the Juilliard School. His 2018/19 season included his Carnegie Hall debut as the bass soloist in Mastervoice’s performance of Israel in Egypt, Leporello in Don Giovanni at the Juilliard School, 1st Nazarene in Salome at the Spoleto Festival, and Fernando in La gazza ladra at Teatro Nuovo.

As a member of the 2017/18 Michigan Opera Theatre Studio Artist program, he performed Angelotti and the Jailer in Tosca, Count Ceprano in Rigoletto, and Ernest Hemingway et. al in Ricky Ian Gordon’s 27.  In 2018, he made his Austin Opera debut as Truffaldino in Ariadne auf Naxos.

While an Apprentice Artist at Santa Fe Opera, Erik sang the roles of the Imperial Commissioner in Madama Butterfly and  Ragotski/Archbishop in Candide. As a Richard Gaddes Festival Artist and a Gerdine Young Artist at the Opera Theatre of St. Louis he appeared as Truffaldino, the Jailer in Dialogues of the Carmelites, and Simon Fenton in Emmeline.

Erik’s concert repertoire includes Haydn’s Great Organ Mass, Bach’s Cantatas 78 and 140, Handel’s Messiah, Mendelssohn’s A Midsummer Night’s Dream, Haydn’s Lord Nelson Mass, Mozart’s Vesperae solenne de confessore, K339, and Regina Coeli in C, K276, Clérambault’s L’Amour et Bacchus, Vaughan Williams’s Fantasia on Christmas Carols, Fauré’s Requiem, Brahms’s Neue Liebeslieder, Charpentier’s Messe de Minuit pour Noël, and Schubert’s Mass in G.

He has presented song repertoire at the WQXR Greene Space in New York City; appeared with Brian Zeger in Schubert’s Winterreise for the Juilliard School’s Songfest;  and appeared with the Caramoor Schwab Rising Vocal Stars under the direction of Steven Blier. Erik received First Prize in the 2016 Gerda Lissner Song and Lieder Competition.


As escaped convict Angelotti, Michigan Opera Theater Studio Artist Erik van Heyningen was immediately engaging, delivering the rich, almost intimate lyricism Detroit audiences are coming to expect from him.

Jennifer Goltz, Opera News, review of Tosca, Michigan Opera Theater, 2018

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