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John Thomas Holiday Jr. (born March 31, 1985) is an American operatic countertenor. His repertoire focuses on the Baroque and contemporary composers, including staged opera and opera in concert, works for voice and orchestra, and experimental mixed-media. He has participated in several world premieres. He has performed with several opera companies in the United States, toured with the Los Angeles Philharmonic, and sung in Shanghai and several European cities. He also sings gospel, pop, and jazz; he was a contestant on season 19 of NBC's The Voice, a vocal competition television series.

Key Information

Early life

[edit]

Holiday was born in 1985 in Rosenberg, Greater Houston, in Fort Bend County, Texas, to John Holiday, Sr., a welder, and Waverly A. Holiday, a homemaker, who sang and played clarinet. His maternal grandmother, Sandra Mathis Franklin, was the pianist and music director at Missionary Baptist Church. He taught himself to play piano by imitating her, and later the organ. While only 6 or 7 years old he sang solos in church and at Travis Elementary School. He won a spot in the Fort Bend Boys Choir, which led to appearances as a treble soloist in the Houston Symphony's performances of Berlioz's La Damnation de Faust with Denyce Graves in the role of Marguérite. He later said, "I'd never seen anyone who looked like me doing what she did. I'd never thought of being an opera singer. To tell the truth, I didn't know that world even existed. I decided that was what I wanted to do."[1]

Holiday graduated from Lamar Consolidated High School in Rosenberg. For two of his high school years he was the first chair tenor in the All-State Mixed Choir sponsored by the Texas Music Educators Association.[2] The University Interscholastic League designated him one of the Most Outstanding Performers in Texas.[3]

Education and vocal training

[edit]

He studied at Southern Methodist University (SMU) from 2003 to 2007, earning a bachelor of music degree in vocal performance.[4] While a student at SMU, he won first place at the TEXOMA region of the National Association of Teachers of Singing several times. Though SMU presented few performance opportunities for a countertenor, in 2005 he did sing the role of Gherardino in the school's production of Puccini's Gianni Schicchi. He won the Concerto Competition of SMU's Meadows School of the Arts in 2007.

He spent the academic year 2007–2008 studying voice at Indiana University's Jacobs School of Music. He then returned to Rosenberg and taught Choral Music and Voice at Lamar Junior High School and Lamar Consolidated High School from August 2008 to December 2009. He returned to vocal studies, now at the University of Cincinnati College-Conservatory of Music where he earned a master's degree in vocal performance in 2012. There he performed the role of Tolomeo in Handel's Giulio Cesare in Egitto under conductor Mark Gibson. In May 2011, he took first place in the Dallas Opera Guild Competition.[5] He spent the summer of that year with the Santa Fe Opera Apprentice program for singers.[6]

He next enrolled at Juilliard, studied with Marlena Malas and Stephen Wadsworth, and obtained his Artist Diploma in Opera Studies in 2014.

He later said his models in the countertenor repertoire were Andreas Scholl and Derek Lee Ragin.[7]

Career in opera

[edit]

Holiday made his Carnegie Hall debut in October 2012, performing Bernstein's Chichester Psalms with the Atlanta Symphony under Robert Spano.[8] He made his debut at Portland Opera in the role of 1st Oracle and 1st Cardinal in Kevin Newbury's 2012 production of Galileo Galilei by Philip Glass under the baton of maestra Anne Manson.[9] He reprised those roles in his 2013 debut at the Cincinnati Opera.[10]

In 2013 he took on the title role in the James Darrah production of Radamisto at the Juilliard School.[11] At Wolf Trap Opera that year he performed the title role in Giulio Cesare in Egitto.[12] In 2014, he also made his Los Angeles Opera debut as the Sorceress in the Barrie Kosky production of Henry Purcell's Dido and Aeneas.[13]

In 2015, he originated the role of Male Soloist No. 1 in the world premiere of Huang Ruo's Paradise Interrupted at the Spoleto Festival USA,[14] a role he repeated in New York at the Lincoln Center Festival in 2016[15] and in Shanghai for the Art Macau Festival.[16]

At the Glimmerglass Festival in the summer of 2015, he sang the role of Giulio Cesare in Tazewell Thompson's production of Antonio Vivaldi's Catone in Utica.[17] He returned to sing the title role in Handel's Xerxes in the summer of 2017.[18] In November 2015, he joined Parnassus Arts in concert performances of Giovanni Battista Pergolesi's Adriano in Siria in Versailles and Krakow.[14]

In January 2017, he won the Marian Anderson Vocal Award.[19] In September 2017, he sang in the Opera Philadelphia world premiere of Daniel Bernard Roumain's chamber opera We Shall Not Be Moved.[20] He repeated that performance at the Dutch National Opera in March 2018, his European debut.[21] He then sang Bernstein's Chichester Psalms on tour with Gustavo Dudamel and the Los Angeles Philharmonic in New York, London, and Paris.[6]

In December 2019 he performed the alto part in Handel's Messiah with the Lucerne Symphony Orchestra.[22]

In February 2020 he sang in the world premiere of Matthew Aucoin's Eurydice at the Los Angeles Opera.[23] He made his Metropolitan Opera debut in that opera in December 2021.[24][25]

Though the COVID-19 pandemic forced the cancellation of many of his scheduled performances, his recital at New York's Metropolitan Museum of Art was presented as a virtual concert. Holiday combined Italian baroque arias with works by Black composers in conjunction with the museum's exhibit of paintings by Jacob Lawrence called "The American Struggle".[26]

In November 2022 he sang the roles of Man Under the Arch and Hotel Clerk in the world stage premiere of Kevin Puts's The Hours at the Metropolitan Opera.[27]

Holiday has been an associate professor of music at the Conservatory of Music at Lawrence University since 2017.[28] He is a member of the National Association of Teachers of Singing (NATS), the American Guild of Musical Artists (AGMA).[28] and The National Academy of Recording Arts and Sciences

Other music

[edit]

Holiday has performed jazz and gospel music throughout his career. In 2006, he opened for Grammy award winner Jason Mraz at the McFarlon Auditorium in Dallas.[29] He released a jazz album entitled "The Holiday Guide" that year as well.

In 2018, he sang the national anthem at a basketball game between the Houston Rockets and the Golden State Warriors at the Toyota Center.

In October 2020, he auditioned successfully for a contestant's spot on NBC's The Voice, where he was coached by John Legend.[30] He came in fifth place in the final.

He has released 3 pop singles, “Alive in Me”, “Waste Mine”, and “Love Finds a Way”, the latter also receiving a remix by Houston-based DJ Riddler. All songs were produced by Rob Grimaldi, best known for co-writing and co-producing the BTS song “Butter”.

Personal life

[edit]

Holiday has identified as gay since he was a teenager.[31] On February 4, 2013, he married his husband, Paul Gater.[1] As of 2021, he is divorced from Gater. He got engaged to fellow The Voice contestant Rio Souma (real name DeMario Adams) in the summer of 2021, and married on July 30, 2022. The couple currently live in Appleton, Wisconsin. He was represented by Columbia Artists Management[32] until 2018. He has been represented since that time by Fletcher Artist Management.[33] March 31 has been named "John Holiday Day" in Fort Bend County, Texas.[34]

He is the second cousin of the former Vice President of Major League Baseball Jimmie Lee Solomon.

Major performances

[edit]

Opera

[edit]

Orchestra

[edit]

Tours in America, France and the U.K. with ‘'Gustavo Dudamel and Los Angeles Philharmonic (Chichester Psalms)

Awards

[edit]
Award Competition Year
Honoree Yerba Buena Center For The Arts YBCA 100 2018
Winner Marian Anderson Vocal Award 2017
Third Place Operalia 2014
Richard F. Gold Career Grant Shoshanna Foundation 2014
Sarah Tucker Career Grant The Richard Tucker Foundation Competition 2014
First Place The Gerda Lissner Foundation International Vocal Competition 2013
Third Place Licia Albanese International Vocal Competition 2013
Third Place Giulio Gari International Vocal Competition 2013
Encouragement Award The George London Foundation Competition 2012
First Place The Dallas Opera Guild Vocal Competition 2011
Top Award Sullivan Foundation Auditions 2011
Anna Case MacKay Award The Santa Fe Opera 2011
Fifth Place Palm Beach Opera Competition 2011

Leadership roles

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

John Holiday

View on Grokipedia
from Grokipedia
John Thomas Holiday, Jr. (born March 31, 1985) is an American whose vocal range and stylistic versatility have established him as a prominent figure in and , while also extending into , , and popular genres. Educated with degrees from and the University of Cincinnati College-Conservatory of Music, followed by an artist diploma from , Holiday rose to prominence through victories in major competitions, including first place in the 2013 Gerda Lissner International Vocal Competition and the 2012 Sullivan Foundation Award. His operatic repertoire features leading roles such as Orpheus's Double in the world premiere of Eurydice at Los Angeles Opera, Caesar in Giulio Cesare in Egitto at Wolf Trap Opera, and appearances at institutions like the Metropolitan Opera, where he debuted in The Hours, as well as with orchestras including the New York Philharmonic and Los Angeles Philharmonic under Gustavo Dudamel. Holiday received the 2017 Marian Anderson Vocal Award and the 2014 Richard Tucker Foundation's Sara Tucker Award, recognizing his technical prowess and interpretive depth in Baroque and contemporary works. Beyond classical stages, he gained broader visibility as a fifth-place finalist on season 19 of NBC's The Voice in 2020, coached by John Legend, showcasing his gospel roots and crossover appeal. In May 2023, Holiday was appointed associate professor of voice at the University of Maryland School of Music, where he teaches and curates programs like The John Holiday Experience to highlight genre-blending performances. His career reflects a commitment to expanding the tradition, with upcoming roles including the in Akhnaten at Komische Oper Berlin in 2025.

Early life and education

Childhood and family background

John Holiday was born in , , in a family that later relocated to Rosenberg in Fort Bend County, where he spent his formative years in a working-class headed by his father, John Holiday Sr., a . His mother, Waverly A. Holiday, served as a homemaker and maintained an active interest in music, having played the during her high school years. The family included nine siblings, fostering an environment of communal responsibility and direct communication, as Holiday later reflected on stating one's case amid a large dynamic. Music permeated the home from an early age, with Holiday's grandmother—affectionately called Big Mama and identified as Sandra Mathis Franklin—serving as the , , and at Calvary Missionary Baptist Church in , where the family attended. She actively encouraged Holiday and his siblings to sing , a staple in their African American community, though most ceased as they matured, leaving Holiday to pursue it persistently. The household emphasized music alongside and nutrition, providing a supportive backdrop for his innate vocal abilities, including an early affinity for high-range singing that surfaced organically during church performances starting at age two. This church-centered exposure, within a tight-knit regional community where neighbors reinforced parental guidance, honed Holiday's discipline through consistent participation, such as self-teaching piano and organ amid gospel rehearsals, prioritizing vocal development over external distractions.

Initial musical influences and training

Holiday's earliest musical influences derived from gospel traditions in his Texas upbringing, where he sang daily in the soprano section of the church choir at Calvary Way Missionary Baptist Church in , encouraged by his grandmother, a known as "Big Mama," who exposed him to and persisted in fostering his talent even as his siblings ceased . This immersion in and communal laid the foundation for his vocal agility and expressive phrasing, distinct from later classical emulation. His introduction to classical elements occurred through membership in the Fort Bend of during childhood, where he performed as a soloist and acquired initial techniques for breath support and range extension via ensemble demands and personal experimentation with high registers, marking the pre-academic discovery of his capabilities as advised by an early teacher to specialize therein. In high school, participation in choir activities advanced his skills through merit-based regional competitions, including auditioning for the Music Educators Association All-State , which honed discipline and competitive edge via iterative rather than formal . These experiences evidenced early progress grounded in persistent, trial-driven practice emphasizing control and extension of his natural high .

Formal education and vocal development

Holiday earned a in vocal performance from Southern Methodist University's Meadows School of the Arts in 2007. There, he began specializing in vocal technique suited to his high , building foundational skills in breath management and resonance that supported his emerging range. He continued his studies with a in vocal performance from the College-Conservatory of Music, completing the degree in 2012. This program intensified his focus on operatic repertoire and technical precision, including exercises to strengthen production—essential for s—while integrating controlled and dynamic control to sustain extended phrases without strain. Holiday then pursued an Artist Diploma in Opera Studies at from 2012 to 2014, where training emphasized advanced stagecraft and stylistic authenticity in and works, refining his to achieve a seamless blend of power and agility across registers. This rigorous regimen, involving daily scales, arpeggios, and repertoire-specific drills, transformed innate vocal qualities into a professional instrument capable of genre-spanning demands, underscoring technique's role over mere endowment in developing his signature clarity and endurance.

Professional career

Opera roles and debuts

Holiday's early operatic engagements included covering the role of Nireno in Handel's Giulio Cesare at the in 2013, marking his initial association with the company. He made his Opera debut in 2014 as the Sorceress in Purcell's in Barrie Kosky's production. That same year, he performed as the title role in Handel's at Wolf Trap Opera, demonstrating his facility in lead parts from the repertoire. Subsequent roles showcased a broadening scope while emphasizing Handelian specialization. At the Glimmerglass Festival, he sang the title role of Xerxes in Handel's Xerxes. He reprised the Refugee in Jonathan Dove's contemporary Flight at both Utah Opera and The Dallas Opera. In 2018, Holiday appeared as John Blue in the world premiere production of Malcolm Hambrick's We Shall Not Be Moved at Dutch National Opera. His European debut came at Bayerische Staatsoper as Prince Go-Go in György Ligeti's . Holiday's Metropolitan Opera stage debut occurred in 2021 as Orpheus's Double in Matthew Aucoin's Eurydice. Recent and upcoming engagements include the title role of Orfeo in Gluck's Orfeo ed Euridice at Florida Grand Opera, the Refugee in Flight at Des Moines Metro Opera, Nerone in Handel's Agrippina at Dutch National Opera in 2024, Farnace in Mozart's Mitridate, re di Ponto at Boston Lyric Opera in the 2024-25 season, and the title role in Philip Glass's Akhnaten at Los Angeles Opera in 2026. These performances span Baroque, Classical, and modern works, highlighting his technical precision in countertenor lines without confinement to a single era.

Concert and orchestral performances

Holiday has appeared as a soloist in Handel's Messiah with multiple ensembles, including the Handel and Haydn Society under Jonathan Cohen in December 2023, featuring countertenor arias such as "He was despised." He reprised the role with the New York Philharmonic in the 2025–26 season and the New Jersey Symphony under Jeannette Sorrell in 2024. Earlier performances include the Ann Arbor Symphony Orchestra in 2018–19 and the Saint Paul Chamber Orchestra in 2017, where his timbre added distinct clarity to the oratorio's introspective sections. In orchestral collaborations, Holiday debuted at Carnegie Hall as countertenor soloist in Bernstein's Chichester Psalms with the Atlanta Symphony Orchestra under Robert Spano, delivering Psalm 23 with precise intonation and tonal security. He has also performed with the Los Angeles Chamber Orchestra at venues including the Kennedy Center and London's Barbican Centre, emphasizing Baroque and contemporary works. Additional engagements feature the San Francisco Symphony, New Jersey Symphony, and Apollo Chamber Players, alongside a solo recital at Wolf Trap. Holiday incorporates American into select concert programs as interpretive enhancements to classical vocalism, as in his March 22, 2025, GBH Music appearance with pianist Kevin J. Miller, blending arrangements of with excerpts for structural and expressive depth. He has further explored orchestral repertoire in programs with the Saint Paul Chamber Orchestra, including arias from Bach, Handel, and Vivaldi concertos.

Crossover and genre-blending work

Holiday has incorporated and elements into his recitals, often improvising within these genres while drawing on his classical vocal technique. For instance, he performs arrangements blending African American with jazz phrasing, as demonstrated in live sets where he accompanies himself on to create intimate, hybrid presentations. This approach allows for spontaneous vocal embellishments reminiscent of jazz , adapted to his range, without compromising precision in pitch and honed through operatic training. A notable collaboration bridging contemporary classical and jazz influences is his premiere of Tyshawn Sorey's Save the Boys on February 2, 2021, commissioned by Opera Philadelphia. Composed specifically for Holiday's voice and accompanied by pianist Grant Loehnig, the 20-minute work sets an 1887 poem by to sparse, introspective music that evokes undertones through rhythmic subtlety and harmonic ambiguity, while maintaining a vocal line suited to agility. Sorey, known for his work across and orchestral idioms, tailored the piece to Holiday's interpretive strengths, resulting in a that garnered invitations for subsequent performances and recordings. Holiday's versatility extends to pop and gospel-infused concerts, including opening for Grammy winner , where he delivered sets merging classical poise with improvisational flair to engage broader audiences. His 2023 release of the debut jazz album The Holiday Guide further exemplifies this genre-blending, featuring original arrangements that integrate lines with standards and spiritual motifs, evidenced by sustained performance bookings at venues blending classical and popular programming. These efforts have empirically boosted his draw, as measured by repeat engagements at institutions like and , reflecting audience responsiveness to his undiluted technical command across stylistic boundaries rather than novelty alone.

Television appearances and media exposure

Holiday competed as a contestant on season 19 of NBC's The Voice in , performing Ella Fitzgerald's "Misty" during the blind auditions on October 19, which elicited turns from all four coaches, resulting in his selection for Team . He progressed through the competition rounds, including a knockout performance of "" on November 25, ultimately reaching the finals as one of two finalists from his team. This national television exposure, viewed by millions, expanded his visibility to non-opera audiences while showcasing his range in a pop-oriented format. Post-competition, Holiday sustained his commitment to opera and classical work, performing roles such as ' Double with Opera in early 2020 prior to the show's airing and debuting as Cherubino in Le Nozze di Figaro with Washington National Opera in 2025, countering any perception of a pivot to mainstream pop. Media profiles have further highlighted his artistry, including a New Yorker feature on April 27, 2018, which detailed his gospel-rooted vocal style, influences spanning church music to jazz and contemporary pop, and approach to infusing opera with the "soul of the music" through technical integration of diverse genres. In 2024, NPR aired an interview with Holiday on June 27 emphasizing soulful expression and emotional authenticity—"the greatest gift you give is... your wide-open heart"—over isolated technical feats, followed by his Tiny Desk Concert on October 16 featuring a mix of jazz standards, classical arias like Reynaldo Hahn's "À Chloris," and spirituals. These broadcasts underscored his genre-blending technique without subordinating it to identity narratives.

Personal life

Relationships and marriages

John Holiday married Paul Gater on February 4, 2013, in a small ceremony in . The couple resided in , during their marriage. Holiday and Gater divorced prior to 2022, though the exact date remains undocumented in . Holiday met singer-songwriter Rio Souma while competing as teammates on The Voice Season 19 in 2020, both under coach . They married in in the summer of 2022. The couple has since performed jointly, including duets showcasing their vocal harmony. Holiday has no children from either marriage. His sequence of marriages reflects a pattern of serial , which contrasts with traditional perspectives prioritizing lifelong commitment for relational stability; empirical data on remarriages indicate elevated risks compared to first unions, potentially linked to unresolved prior dynamics.

Residence and personal challenges

Holiday relocated to , in 2023 upon accepting an appointment as associate professor of voice at the University of Maryland School of Music, following six years (2017–2023) as faculty at in . He retains deep connections to the area, where he was born in , and spent his formative years immersed in and family life. In his youth, Holiday encountered from peers who ridiculed his high , particularly when he sang in the soprano section of his church choir and was taunted for "singing like a ." Such skepticism from doubters persisted into his early pursuits, yet he surmounted these obstacles through disciplined vocal technique development and unwavering commitment to performance, forging a career marked by technical precision and range mastery rather than external validation. Holiday has reflected on as a deliberate process of internal fortification, involving rigorous self-work to anchor one's identity in personal history and capabilities, which he links causally to sustained professional endurance amid ongoing industry scrutiny. This approach underscores his resilience, prioritizing empirical in vocal artistry over mere affirmation, as evidenced by his from local church singer to international stages.

Recognition and impact

Awards and competitions

In 2012, Holiday won first prize in the William Matheus Sullivan Foundation International Vocalists . The following year, he secured first place in the Gerda Lissner International Lieder . In 2014, he received third prize and $10,000 at Plácido Domingo's Operalia competition held in , along with the Sara Tucker Award from the Richard Tucker Music Foundation. In 2017, Holiday was awarded the Vocal Award by the John F. Kennedy Center for the Performing Arts and Washington National Opera, recognizing excellence among young singers of exceptional promise. In 2020, he advanced to the finals of season 19 of NBC's The Voice as a contestant on Team , ultimately placing fifth based on viewer votes.

Critical reception and influence

Holiday's vocal technique has garnered consistent praise from critics for its power, agility, and seamless range, often described as one of the finest among contemporary countertenors. In a 2018 review of his performance in Leonard Bernstein's , his high voice was noted for its immediate emotional impact and ability to blend operatic precision with gospel-inflected warmth derived from his church background, enabling expressive depth in roles like the Sorceress in Purcell's . Similarly, OperaWire highlighted his "powerful and agile" delivery with "immense range and seamless registers" in early career debuts, attributing success to technical mastery rather than stylistic novelty. A 2018 New Yorker profile emphasized the innovative fusion of gospel elements into operatic performance, as in his rendition of "Amazing Grace," where influences from church choirs and diverse genres like blues and jazz produced a "soaring" yet "tender and fiery" timbre that challenges traditional boundaries without compromising classical rigor. While this crossover approach, including his 2020 The Voice appearance, expanded opera's audience reach, skeptical commentary from classical purists on potential over-commercialization remains sparse and largely anecdotal, with most reviews affirming the artistic integrity of his genre-blending as rooted in vocal versatility. Holiday's prominence has paralleled a documented surge in roles and visibility within since the early , evidenced by increased productions featuring the voice type in major houses and a shift toward viewing countertenors as matinee idols akin to . This rise stems empirically from advancements in vocal training and performers' technical prowess, as Holiday exemplifies through his barrier-breaking achievements in , contemporary, and hybrid works, rather than programmatic . His influence on peers manifests in an emphasis on craft and over ideological framing, as articulated in interviews where he positions himself as a "bridge" between classical and popular idioms, inspiring younger singers to pursue multifaceted repertoires grounded in authentic vocal identity. This mentorship-oriented approach, evident in his trailblazing as an African-American , prioritizes musical excellence and has encouraged emulation of his versatile technique among emerging artists, fostering a field effect of heightened technical standards in the voice category.

Teaching and leadership

Academic appointments

In Fall 2023, John Holiday joined the University of Maryland School of Music as of Voice and . His responsibilities include teaching private voice lessons, providing consultation lessons, and contributing to the voice and opera curriculum through coaching in diverse repertoires such as Baroque opera (e.g., Handel's works), contemporary compositions, , , and pop. This role leverages his professional experience to emphasize rigorous vocal training and high artistic standards, fostering versatile performers capable of cross-genre application. Holiday's pedagogy has yielded measurable student outcomes, including advancements to graduate programs at institutions like and The Juilliard School, victories in the National Council Auditions and National Association of Teachers of Singing competitions, and principal roles at prominent venues such as The and Seattle Opera. No prior formal academic appointments are documented in available records.

Mentorship and advocacy roles

Holiday has publicly advocated for achieved through deliberate personal effort and authenticity, rather than external approval or identity-based accommodations. In a June 27, 2024, interview, he described as requiring individuals to "do the work to feel strong and grounded in the fullness of who you are and where you come from," positioning this internal as essential for artistic across genres from to contemporary. He frames his own identity as a not as a basis for lowered standards but as a "" amplified by merit-driven excellence, thereby challenging assumptions in circles that attribute success among underrepresented groups primarily to diversity initiatives over vocal and performative skill. Informally, Holiday mentors younger artists by encouraging them to cultivate their best selves through authenticity and growth, aiming to inspire lasting change in the field without relying on structured programs. His advocacy extends to promoting Black presence in classical via transformative representation rooted in high-caliber performances, as evidenced by his involvement in projects like the 2021 "Save The Boys" initiative, which counters underrepresentation through excellence rather than quota-driven inclusion. This stance underscores a causal emphasis on individual achievement as the primary driver of broader influence, distinct from institutional DEI frameworks often critiqued for prioritizing demographics over demonstrable talent.

References

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  5. https://www.operaamerica.org/magazine/fall-2021/my-first-opera-john-holiday/
  6. https://music.umd.edu/news/renowned-countertenor-john-holiday-joins-school-music-faculty
  7. https://www.outsmartmagazine.com/2015/02/john-holiday-sings-love-songs/
  8. https://thecinemaholic.com/john-holiday-from-the-voice-everything-we-know/
  9. https://www.earlymusicamerica.org/emag-feature/enjoying-the-ride-with-john-holiday/
  10. https://www.fortbendstar.com/culture/rosenberg-native-ascends-to-stardom-on-the-voice/article_d3929b55-6a96-54d3-a146-11455957e4c3.html
  11. https://www.newyorker.com/culture/culture-desk/the-gospel-inflected-opera-of-john-holiday
  12. https://www.latimes.com/entertainment/arts/la-et-cm-john-holiday-countertenor-20180418-htmlstory.html
  13. https://www.johnholiday.com/media
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  16. https://www.operaphila.org/community/dress-rehearsal-program/save-the-boys/john-holiday/
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  33. https://www.bso.org/events/handel-and-haydn-messiah-2023
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  35. https://www.njsymphony.org/events/detail/handels-messiah-2024
  36. https://ums.org/performance/handels-messiah-2018/
  37. https://www.mprnews.org/story/2017/12/14/countertenor-john-holiday-brings-special-voice-to-spco-messiah
  38. https://www.classicalsource.com/concert/atlanta-symphony-orchestra-robert-spano-in-new-york-appalachian-spring-chichester-psalms-belshazzars-feast/
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  59. https://www.johnholiday.com/news/john-holiday-joins-university-of-maryland-school-of-music-faculty
  60. https://www.lawrence.edu/articles/john-holiday-finds-joy-recruiting-young-musicians
  61. https://www.yahoo.com/news/john-holiday-got-bullied-vocals-194000330.html
  62. https://www.instagram.com/reel/DPUcZmkiQHw/?hl=en
  63. https://www.uc.edu/news/articles/legacy/enews/2014/08/ccm-alumni-win-top-prizes-in-world-opera-competition-in-los-angeles.html
  64. https://www.sfsymphony.org/Data/Event-Data/Artists/H/Holiday%2C-John
  65. https://www.johnholiday.com/news/john-holiday-wins-the-marian-anderson-vocal-award
  66. https://operawire.com/artist-of-the-week-john-holiday-is-a-countertenor-on-the-rise/
  67. https://datebook.sfchronicle.com/music/countertenors-the-high-male-voices-of-opera-are-having-a-moment
  68. https://www.classicalwcrb.org/blog/2025-08-14/recounting-the-countertenor
  69. https://www.nepm.org/classical/2024-06-27/countertenor-john-holiday-isnt-trying-to-make-you-love-him
  70. https://classicalpost.com/read/2018/11/7/john-holiday-handel-opera
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