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Opera Company of Middlebury-The Pearl Fishers
"We meet the two men first. And they are...very attractive! Matt Morgan as Nadir, and Andrew Cummings, as Zurga, have great chemistry, and both look like they just got off that island in "Lost". Vocally and physically they are a fabulous contrast. Morgan, boyish and handsome, has an exquisite lyric tenor that is tender and yet powerful. Their Act I duet, "Au fond du Temple Saint," where they pledge their friendship, thrilled the audience, and their exceptionally strong vocal performances soared throughout the evening."
Nancy Maxwell, The Addison Independent |
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Opera Company of Middlebury-The Pearl Fishers
"Tenor Matt Morgan was a natural as Nadir, with a light, plaintive voice expressing his love with passion as well as tenderness."
Jim Lowe, The Times Argus |
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Dayton Opera-The Merry Widow
Morgan's high, sweet-sounding tenor is well-suited to the role, and his agility and passion as Valecienne's admirer adds to the considerable chemistry of the production.
Eric Street, Dayton City Paper |
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Dayton Opera-The Merry Widow
Giving Monaghan and Worth a run for the audience's cheers were Laura Portune (Valencienne) and Matt Morgan (Camille), who also delivered elegance and plenty of charm.
Charles H. Parsons, Opera News |
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Sacramento Opera-Pirates of Penzance
Frederic, played by tenor Matt Morgan, gives a resounding performance. He is a renown professional who has performed over 60 operatic roles during his career.
Sandy Carriger, The Gold Country Times |
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Opera Theater of Pittsburgh-Djamileh
Tenor Matt Morgan was superb as the dissolute Haroun, winning no sympathy for his self-absorption.
Mark Kanny, Pittsburgh Tribune-Review |
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Fort Worth Opera Festival-Of Mice and Men
Matt Morgan made Curley the quintessential American macho male, recalling Annie Proulx’ pronouncement that “men are the major victims of American masculinity.”
Opera Today |
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New Orleans Opera-West Side Story
The two leads, Sarah Jane McMahon as Maria and Matthew Morgan as Tony,
brought a touching realism to their roles as the star-crossed young
lovers. Morgan's renditions of "Something's Coming" and "Maria" were
especially beautiful, displaying a rich and warm tenor voice.
Theodore P. Mahne, The Times Picayune |
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Opera Louisane Gala - Filmed for PBS television
A Dutiful Wife showcased the talents of Matt Morgan, a young man whose talent will light up world class concert halls for a long time to come.
Ray Blum - The Daily Advertiser |
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Manchester Music Festival - Rising Stars Concert
Morgan then had the unenviable task of bringing life to Mozart's stiffly proper Don Ottavio. His straightforward singing was beautiful and appropriate, but it was interesting to feel the pull of virility and physicality on the audience:
Joseph Schaaf, The Manchester Journal |
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Matt Morgan in Concert (television special)
"Dynamic, romantic, charismatic and bold - a fitting description of tenor soloist Matt Morgan"
Jennifer R. Vertullo, The Daily News |
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Matt Morgan in Concert (television special)
"..the program is at its best when focusing on the clean-cut Morgan.The former Pittsburgh Opera singer handles the various styles equally well, applying his smooth, effortless technique and neat phrasing."
Jane Vranish, Post-Gazette |
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The Student Prince
"Matt Morgan's light, flexible tenor brings both sweetness and vocal weight to such classic numbers as the "Serenade"
Michael Anthony, Star Tribune |
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The Student Prince
Matt Morgan tackled the prince's schmaltz-stuffed ballads with a sweet, soaring tenor.
St. Paul Pioneer Press |
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New York City -Pirates of Penzance
Matt Morgan played the part with winning charm. His fine tenor voice was fiery in confronting his former nursemaid, Ruth, ably sung and acted by contralto Myrna Paris, a veteran of City Opera G & S productions, sweet in his love duet with Mabel in the first act, and plaintive in their parting duet in Act Two.
David M. Rice, www.classicalsource.com |
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New York City Opera-Pirates of Penzance
Frederic is endearing and loveable as played by Matt Morgan. He has a genuine youthful idealism, and despair as he navigates his particular plight.
Pamela Butler, NYTheater.com |
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New York City Opera-Pirates of Penzance
The delicate and adorable Matt Morgan -- sounding most convincingly British despite his Louisiana roots -- perfectly captures the good-hearted and slightly dim-witted Frederic.
-Brian Scott Lipton, Theater Mania |
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New York City Opera-Pirates of Penzance
Matt Morgan sings and smirks sweetly as a mock-innocent Frederic.
Martin Bermheimer, Financial Times |
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New York City Opera-Pirates of Penzance
"...he's got the right hero looks and has a wonderful tenor voice."
Elyse Sommer, Curtainup.com |
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New York City Opera-Pirates of Penzance
..his attractive lyric tenor served him well"
Allan Kozzin, New York Times |
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New York City Opera-Pirates of Penzance
Tenor Matt Morgan as Frederic is charming as the innocent but upright young Englishman.
Victor Gluck, TheaterScene.net |
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New York City Opera-Pirates of Penzance
Matt Morgan cut a fine figure as Frederick....
George Loomis, New York Sun |
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Gotham Chamber Opera – Albert Herring
“As Albert, Matt Morgan was a bespectacled look-alike for Matthew Broderick in a constant state of embarrassment or surprise, and should receive praise for some sweet and characterful singing, while changing from a vulnerable gosling to a more defiant adult.”
-Bruce Hodges, Seen and Heard International |
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Gotham Chamber Opera – Albert Herring
“When New York audiences have had a chance to hear tenors John Easterlin and Matt Morgan and soprano Leah Wool, it's been mostly in sharply portrayed cameos. Here, they all sing roles ample enough to show how deep the talent pool is among young American singers.”
-Justin Davidson, Newsday |
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Gotham Chamber Opera – Albert Herring
Matt Morgan played Albert as kin to Murphy Brown's overmatched boss, Miles Silverberg, able to sustain a googly-eyed look of panic through virtually the entire scene of his coronation as the May King, until his rum-laced lemonade produces googly-eyed delirium.
James R. Oestereich, New York Times |
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Portland Opera- Il Barbiere di Siviglia
"Tenor Morgan made a silver-timbred Count Almaviva"
-Grant Menzies- Willamette Week |
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Nevada Opera - L'elisir D'amore
"As Nemorino, the farmhand pining for his employer, Adina (Redding), Morgan has not only a nice, light tenor but good comic timing and moves. His scenes after drinking the “elixir” (wine from a snake-oil salesman) sent the audience into waves of chuckles as he alternately struts his stuff and despairs of attracting Adina’s attentions."
-Yvonne Beasley, Reno Gazett-Journal |
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Nevada Opera - L'elisir D'amore
"Tenor Matt Morgan sings and plays opposite Miss Redding and is a most believable Nemorino. Gullible, naive and boyish with a pure, smooth tenor instrument, Mr. Morgan is all that Nemorino should be."
-Jack Neal, Nevada Events and Reviews |
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Toledo Opera - Pagliacci
"Matt Morgan’s youthful demeanor made his Beppe a perfect actor-in-training for the troop; his lyric tenor made Harlequin’s serenade a highlight of the evening."
-Alan Montgomery, Opera News |
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Opera Theater of Pittsburgh - Die Zauberflöte
“Tamino and Pamina were both beautifully performed by tenor Matt Morgan and soprano Natalya Kraevsky. Both sang with firm and attractive tone, and shaped their lines with exemplary Mozartean style.”
- Tribune Review |
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Pittsburgh Public Theater - Mikado
“John Matthew Morgan completely wins us over as Nanki-Poo”
- Pittsburgh City Paper |
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Pittsburgh Public Theater - Mikado
"There is not a weak link in the cast, but standouts include the glorious-voiced John Matthew Morgan as Nanki-Poo."
- Ann Miner, Talkinbroadway.com |
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Bard Music Festival - Die Drei Pinto
tenor Matt Morgan (Don Gomez), soprano Frances Lucey, and bass Steven Moore (innkeeper) all sang beautifully and projected the personalities of their roles.
Gerald S. Fox, American Record Guide |
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La Belle Helene
“As Paris of Troy, his singing especially shone. Morgan has a light, unforced sound with lots of power held in reserve. Though a young man, he paced himself like an old pro, saving the juice for the occasional climaxes and big photo finishes”
-The Star Tribune, January 2003 |
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Pittsburgh Opera - Postcard From Morocco
"Tenor Matt Morgan, in his most impressive performance of the season began the scene."
- Tribune Review |
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Le Tragedie du Carmen
"his aria of persuasion at the end of Act 2 soars with palpable longing"
- Pittsburgh Post-Gazette |
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Pittsburgh Concert Chorale - Beethoven Mass in C
“Tenor Matt Morgan sang with fervor and security..."
- Tribune Review |
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