Luisa Miller (WinCE)
Bizet Carmen Escamillo Boston Concert Opera
Boston Lyric Opera
Pearlfishers Zurga Opera Boston
Earls Icarus Daedalus Brucknerfest;  Linz, Austria
Gershwin Porgy and Bess Jake Connecticut Opera
Theatre des Westens; Berlin, Germany
Porgy Mercury Theatre,  Auckland, New Zealand
Lake George Opera
Handel Orlando Zoroastro American Repertory Theatre
Monteverdi L’Orfeo Caronte Boston Handel and Haydn Society
Plutone Aston Magna Society
Mozart Don Giovanni Masetto Lyric Opera of Kansas City
Don Giovanni Mercury Theatre, Auckland, New Zealand
Offenbach La Vie Parisienne Baron Gondremarck) Opera Boston
Magic Flute Papageno Monadnock Music
Puccini Il Tabarro Michele Boston Acadamy of Music
La Boheme Schaunard Connecticut Opera
Madame Butterfly Sharpless Delaware Opera
Opera Ebony
 Mercury Theatre, Auckland, New Zealand
Tosca Scarpia Newton Symphony
Turandot Ping Connecticut Opera
Rossini Barber of Seville Figaro Boston Lyric Opera
Mercury Theatre,  Auckland, New Zealand
La Cenerentola Alidoro Tulsa Opera
Monadnock Music
Pennsylvania Opera
La Pietra del Paragone Count Asdrobale Boston Acadamy of Music
Saint Saens Samson and Dalila High Priest Fort Worth Opera
Strauss Die Fledermaus Falke Boston Artists Guild
Verdi Aida Amonasro Utah Opera
Syracuse Opera
Connecticut Opera
Attila Ezio Boston Concert Opera
Falstaff Ford Boston Lyric Opera
Un Ballo in Maschera Renato Lake George Opera
Sacramento Opera
Luisa Miller Miller Opera Boston
Othello Iago Boston Concert Opera
Rigoletto Rigoletto Tacoma Opera
Pennsylvania Opera
Delaware Opera
La Traviata Germont Boston Lyric Opera
Mercury Theatre,  Auckland, New Zealand
Chattanooga Opera
Il Trovatore Count di Luna Boston Lyric Opera
Weill Lost in the Stars Stephen Kumalo Boston Lyric Opera
Zimmerman Die Soldaten Obrist Opera Company of Boston


Cantatas Alexander’s Feast Carmina Burana
Christmas Oratorio Dettingen Te Deum PARKER
Magnificat Dixit Dominus Hora Novissima
Mass in B minor Israel in Egypt PELOQUIN
St. John Passion Judas Maccabaeus Four Freedom Songs
St. Matthew Passion Joshua RACHMANINOFF
BARBER Messiah The Bells, Op. 35
Dover Beach Samson RAVEL
BEETHOVEN HAYDN Chansons Madecasses
Choral Fantasy Harmoniemesse ROREM
Der Glorreiche Augenblick Lord Nelson Mass Santa Fe Songs
Mass in C Major Mass in Time of War (Paukenmesse) ROSSINI
Missa Solemnis Seven Last Words Messe di Gloria
Ninth Symphony Stabat Mater Messa Solenne
BERBERIAN The Seasons Stabat Mater
Requiem Aeternam The Creation SAINT-SAENS
BERLIOZ HONEGGER Christmas Oratorio
Romèo et Juliette King David SCHUBERT
BLOCH Une Cantate de Noël Mass in E Flat minor
Sacred Service HUNT Mass in G
Deutsche Requiem IVES Les Noces
BRITTEN General Booth Enters into Heaven TIPPET
Noye’s Fludde LISZT A Child of Our Time
War Requiem The Bells of Strasbourg Cathedral VAUGHN-WILLIAMS
Messe di Minuit pour Noël All Rise Five Mystical Songs
Old American Songs Song of the Slave Songs of Travel
The Seven Last Words of Christ Die erste Walpurgisnacht VERDI
DVORAK Elijah Requiem
ELGAR Coronation Mass Balshazzar’s Feast
Dream of Gerontius Domican Vespers WEILL

GERSHWIN/ R.R. Bennett
Mass in C Major Berliner Requiem
Porgy and Bess Mass in C minor YANNATOS
Missa Brevis Trinity Mass (World Premiere)
Vesparae de Dominica


Aida (WinCE)

We sing for their supper!

George Frideric Handel
“Messiah” Sing

Christian Lane, Conductor

Katie O’Reitlyo Angela Jajko, Joshua Collier,
and Robert Honeysucker, soloists + Orchestra

To benefit Project Bread: “The Walk for Hunger”
Friday, December 4, 2015; 7:30 PM

Songs of Separation – William Grant Still


Trinity Mass: Dies Irae

*All Saints Parish*
1773 Beacon Street
Brookline, MA




“Honeysucker was superb…dispatching one of Handel’s greatest hits, Honor and Arms,” with a flourish and making the father’s lament for his son an emotional climax of the work.” (Handel: Samson)                                                                                                                                                                                                   – Boston Globe (2001)

“Of Robert Honeysucker it can be reported that he continues in his vocal prime… Excellent, too, was the way he could tap into the rawest emotions, without the tiniest suggestion of rant, and his exemplary, natural diction.”               (with Jubilee Trio: “Songs of Struggle”)

-Boston Globe (2002)

“Honeysucker nearly stole the show with his portrayal of the venial and debauched Scarpia.  He put his savoir-faire to work in making the Baron a calculating villain.  His nuanced acting was transcended only by singing that rang out thrillingly.” (Puccini: Tosca)                                                                                                                       – Boston Globe (2002)

“…(Honeysucker) turned in his usual class act by playing Scarpia not as a cartoon villain, but as a suave, supremely confident man.” (Puccini: Tosca)                                                                                                                                              – Boston Herald (2002)



“Robert Honeysucker gave a performance as dramatically compelling and emotionally charged as it was musically eloquent…. His aching sadness, his profound inwardness, and the beauty of his singing added up to one of the most moving performances I’ve ever seen.”                                        (IL TABARRO)                                                                                                                                                                              -THE BOSTON PHOENIX

“Robert Honeysucker’s voicing of the great baritone aria Eri Tu was as classy a piece of singing as you are ever likely to hear in live performance….His singing had legato, passion, and commanding high notes, and his experience told in the vigor and specificity of his complex characterization of the noble spirit, wronged husband, and remorseful assassin.”     (UN BALLO IN MASCHERA)


“Honeysucker’s voice was resplendent – rich, free, and clarion, his phrasing supple and undulant.  In his final aria,  Honeysucker let fly some ringing high notes that not only any Baritone, but any Tenor in the business would be proud to claim.”  (LA PIETRA DEL PARAGONE)



“…In Eri tu, (Robert Honeysucker) unleashed his voice to tremendous applause.  He was powerful, passionate and plaintive.”  (UN BALLO IN MASCHERA)


“Robert Honeysucker’s rich baritone voice proved outstanding, a powerful tool for evoking emotion, full of finesse.  Mr. Honeysucker has an adroit sense of drama…able to focus the emotion in a song right on target, evocative and lyrical.”  (PORGY AND BESS)


“The finest performance of the night was delivered by Robert Honeysucker as RENATO… His solo in the third act was powerfully and passionately acted and sung.”                          (UN BALLO IN MASCHERA)


“Honeysucker was simply wonderful from the moment he walked on stage.  In perfect control of the role of ESCAMILLO, with just the right amount of swagger and self-confidence, matched by his rich Baritone.”  (CARMEN)


“It was worth the price of admission to see and hear Robert Honeysucker, who turned in a performance that was nothing short of magnificent.  Honeysucker has a strong Baritone voice and his acting is outstanding.”  (FALSTAFF)


“Baritone Robert Honeysucker was outstanding in his portrayal of the hunchbacked jester, RIGOLETTO.  Especially moving was Honeysucker’s Act III plea for mercy, and his heartbreaking anguish at the death of his daughter, Gilda.”  (RIGOLETTO)                                                                                                                  -THE SUNDAY TELEGRAM

“The rich natural beauty of Honeysucker’s singing is always so moving.”   (LA TRAVIATA)                                                                                                                                 -THE BOSTON GLOBE

“Robert Honeysucker, as AMONASRO, has a gorgeous voice and acted with appropriate intensity during his climactic third act duet with Aida.  (AIDA)                                                                                                                            -LAKE GEORGE DAILY GAZETTE

“Robert Honeysucker’s FIGARO bursts with life and fun.  His broad grin and powerful Largo al Factotum della Citta, one of the great arias for high Baritone, shook the theatre to its foundations with its resonance.” (BARBER OF SEVILLE)                                                                                                                                                        -AUCKLAND STAR

“…Robert Honeysucker’s ZURGA… nobly serene in his bearing, clarion in sound…thrillingly virile high notes.”                   (THE PEARL FISHERS)                                                                                                                                                    -THE BOSTON GLOBE



“It is important to salute baritone Robert Honeysucker, who has arrived at the absolute prime of a career remarkable for versatility, substance and solidity.  In this last year he has excelled in opera, oratorio, recital literature, show tunes, and spirituals.  HE HAS NEVER PARTICIPATED IN A PERFORMANCE HE DID NOT IMPROVE.”                                                                 -THE BOSTON GLOBE critic Richard Dyer, designating

(Robert Honeysucker  as 1995 Musician of the Year)

“Baritone Robert Honeysucker gave us first-class Verdi singing… implacable divine-right force of an Old Testament prophet, just the way Verdi meant him to.”  (VERDI: Requiem)


“The capstone was Robert Honeysucker.  The smooth power of his voice and his expressive rendering of the Mendelssohn airs and recitatives made him a one man opera.”  (MENDELSSOHN: Elijah)


“Honeysucker’s startlingly expressive baritone power on the O Freunde solo was thrilling and deeply resonant… he displayed a vocal instrument of smooth mellifluousness that is a joy to hear.
(BEETHOVEN: Ninth Symphony)                                                                                                                                                                                -THE PATRIOT LEDGER

“Of the soloists, my favorite was Robert Honeysucker… who sang, not only with total authority, but with a keen sensitivity to the words.  He made you sit up and take notice.”  (HANDEL: Messiah)                                                                      -MOLINE DISPATCH & ROCK ISLAND ARGUS

“…a lovely supple lyric baritone marked the songs with just the right amounts of size and resonance, he made (the songs) alive.  Honeysucker brought splendid musicianship, sensitive, humorous interpretation and fine singing…” (COPLAND: Old American Songs)                                                                                                                               -ARIZONA DAILY SUN

…if our disillusioned world still had a need for a leading man, Honeysucker would be one of the Great White Way’s brightest stars. easy rhythm, a relaxed style, and clear diction.; once in a while he will  soar up to a full- voiced high G, or even an A, that will make your hair stand on end.”   (Broadway songs, with Boston Museum of Fine Arts Trio)                                                                                                                                             -THE BOSTON GLOBE

“Baritone Robert Honeysucker’s impressive penetrating voice and versatility was a highlight of this work.”                   (ORFF: Carmina Burana)                                                                                                                                                  -THE SUNDAY COURIER

“Honeysucker delivered his admonition on the brevity of life…and his promise of hope…with sublime passion, his potent, commanding tones riding the swell of the orchestra.”  (BRAHMS: Requiem)                                                                                                                                                                                                                   -UNION NEWS

“Robert Honeysucker is the star of this recording, singing with ringing tones (right up to high C), easy diction, dignity, sincerity and utter conviction.”  (VIDEMUS ENSEMBLE: Watch and Pray  –  Spirituals and Art Songs by African American Women Composers  –  KOCH INTERNATIONAL)                                                                                               -THE BOSTON GLOBE