On both sides of the Atlantic, the American baritone Jonathan Michie is garnering acclaim for his exceptional vocal abilities and charismatic stage presence, excelling as both an actor and a singer.

In the United States, Jonathan made his debut as a young artist at the Santa Fe Opera in the roles of the Vicar in Britten's Albert Herring and Count Dominik in Strauss' Arabella. He was a member of the renowned Merola Program at the San Francisco Opera, singing his first Figaro in Rossini’s Il barbiere di Siviglia.
Subsequently, he collaborated with prestigious houses in leading roles: Chicago Opera Theater (creating the title role in The Life and Death(s) of Alan Turing); Los Angeles Opera (Papageno in Die Zauberflöte, Donald in Billy Budd and The Vicar in Albert Herring by Britten); Seattle Opera (Dandini in Rossini's La Cenerentola); Florida Grand Opera (Mercutio in Gounod's Roméo et Juliette, Count Almaviva in Le Nozze di Figaro and Masetto in Mozart's Don Giovanni, a role he reprised with the Chicago Symphony Orchestra conducted by James Conlon); Santa Fe Opera (Prince Paul in La Grande-Duchesse de Gérolstein by Offenbach).
In Europe, Jonathan has forged strong ties with the Leipzig Opera and Gewandhaus Orchestra, taking on numerous roles and earning praise for his linguistic talent.

In addition to operas in English (Sam in Trouble in Tahiti by Bernstein; Ned Keene in Peter Grimes by Britten), German opera holds a special place: Papageno in Die Zauberflöte by Mozart; Olivier in Capriccio and Harlekin in Ariadne auf Naxos by Strauss; Kühleborn in Undine and Rochester in Zum Groß-Admiral by Lortzing; Ottokar in Weber's Der Freischütz; Ein Tierbändiger in Lulu by Berg; Der Einäugige in Die Frau ohne Schatten and Konrad Nachtigall in Die Meistersinger von Nürnberg by Wagner.
He also shines in Italian works: Figaro in Il barbiere di Siviglia and Dandini in La Cenerentola by Rossini; Belcore in L’elisir d’amore and Malatesta in Don Pasquale by Donizetti; Silvio in Pagliacci by Leoncavallo; Marcello in La bohème, Ping in Turandot and Sonora in La Fanciulla del West by Puccini.
Jonathan's affinity with French opera was affirmed in Leipzig with Valentin in Faust, as well as the stage production of Cinq-Mars by Gounod in the role of Conseiller de Thou, in collaboration with Palazzetto Bru Zane.

Jonathan Michie has performed throughout the world: the Rome Opera (Donald in Billy Budd), the Teatro Comunale in Bolzano (Valentin in Faust), the Beijing Festival (Harlekin in Ariadne auf Naxos), Tel Aviv Opera (Figaro in Il barbiere di Siviglia), etc. On the concert stage, he has appeared with ensembles such as the Gewandhaus Orchestra, Slovenian Philharmonic, Münchner Rundfunkorchester, Jerusalem Symphony, Musica Sacra, and the New World Symphony.

He has worked with an impressive list of conductors, including James Conlon, Ulf Schirmer, Sir Andrew Davis, Frédéric Chaslin, Jonathan Darlington, Lidiya Yankovskaya, Giedre Šlekyte, Ramón Tebar, Christoph Gedschold, etc. Notable stage directors he has collaborated with include Stephen Wadsworth, Deborah Warner, Francesca Zambello, Paul Curran, Anthony Pilavachi, Balázs Kovalik, Lindy Hume, Renaud Doucet and Rolando Villazón.

For the 2024/25 season, Jonathan will create the role of Richard Loving in the world premiere of Loving v. Virginia with the Richmond Symphony and Virginia Opera. He will feature as a soloist for multiple Bach motets with the Thomanerchor and Gewandhaus Orchestra, under the direction of Thomaskantor Andreas Reize. These will include BWV 33, 248/4, and 176, both at the Thomaskirche and as part of the 2025 Bachfest. He returns to the Leipzig Opera for two new roles: Don Alvaro in a new production of Il viaggio a Reims and Arcalaus in J.C. Bach’s Amadis de Gaule. He will also reprise many of his favorite roles, including Papageno in Die Zauberflöte, the title role in Don Giovanni, and Kühleborn in Undine.

Having trained at the Eastman School of Music, as well as being a member of Actors’ Equity, Jonathan has received distinctions from numerous competitions. In addition to the Robert Schumann Competition, he has been recognized by the Sullivan Foundation, the Licia Albanese-Puccini Foundation, the Lotte Lehmann Foundation, and the Liederkranz Foundation, among others. Notably, Jonathan is the youngest winner in the history of the Kurt Weill Foundation’s Lotte Lenya Competition.