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Florentine Opera-Sister Carrie

Elaine Schmidt, Milwaukee Journal Sentinel

"Tenor Matt Morgan brought energy and a warm sound to the role of Drouet"

Florentine Opera-Sister Carrie

Dominique Paul Noth, Urban Milwaukee

"The warm tenor of Matt Morgan as Drouet introduces this unhappy factory worker to a seductive world"

Florentine Opera-Sister Carrie

Mark Thomas Ketterson, Opera News

his Charles Drouet nonetheless emerged appealingly as the “pleasant faced” object of Carrie’s early social ambitions.

Sarasota Ballet-Les Illuminations

Anna Dearing,

"Another thrill was Tenor Matt Morgan’s beautiful singing in “Illuminations.”

Amarillo Opera-Candide

Gregory Sullivan Isaacs,

As Candide, tenor Matt Morgan was good as both a romantic lead (of sorts) and a youngster, thanks to his boyishness and good looks....Morgan did a fine job negotiating this difficult score and sounded as innocent as he looked; constantly bemused by the series of earth shaking disasters that ensue. Vocally, he is capable of a big tenor sound.

Opera Company of Middlebury-La Rondine

Nancy Maxwell, The Addison Independent

"As Ruggero, Matt Morgan is literally her "dream" come to life. His tenor voice is a combination of power and tenderness that touches the soul. When he arrives, all innocent and open hearted at Magda's Salon, we know they won't be able to resist each other, and their work together is lovely."

Opera Company of Middlebury-La Rondine

Jim Lowe, The Times Argus

"Tenor Matt Morgan, ful of boyish good looks as well as voice, sang and played Ruggero beautifully."

Jacksonville Symphony-The Pirates of Penzance

Dick Kerekes,

"It’s a light and frothy show about a pirate apprentice named Frederic. (Wonderfully done in excellent voice by New York tenor Matt Morgan, who had the best styled hair of any Pirate I have ever seen). "

Opera Company of Middlebury-The Pearl Fishers

Nancy Maxwell, The Addison Independent

"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."

Opera Company of Middlebury-The Pearl Fishers

Jim Lowe, The Times Argus

"Tenor Matt Morgan was a natural as Nadir, with a light, plaintive voice expressing his love with passion as well as tenderness."

Dayton Opera-The Merry Widow

Eric Street, Dayton City Paper

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.

Sacramento Opera-Pirates of Penzance

Sandy Carriger, The Gold Country Times

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.

Dayton Opera-The Merry Widow

Charles H. Parsons, Opera News

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.

Opera Theater of Pittsburgh-Djamileh

Mark Kanny, Pittsburgh Tribune-Review

Tenor Matt Morgan was superb as the dissolute Haroun, winning no sympathy for his self-absorption.

Fort Worth Opera Festival-Of Mice and Men

Opera Today

Matt Morgan made Curley the quintessential American macho male, recalling Annie Proulx’ pronouncement that “men are the major victims of American masculinity.”

New Orleans Opera-West Side Story

Theodore P. Mahne, The Times Picayune

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.

Opera Louisane Gala - Filmed for PBS television

Ray Blum - The Daily Advertiser

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.

Manchester Music Festival - Rising Stars Concert

Joseph Schaaf, The Manchester Journal

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:

Matt Morgan in Concert (television special)

Jennifer R. Vertullo, The Daily News

"Dynamic, romantic, charismatic and bold - a fitting description of tenor soloist Matt Morgan"

Matt Morgan in Concert (television special)

Jane Vranish, Post-Gazette

"..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."

The Student Prince

Michael Anthony, Star Tribune

"Matt Morgan's light, flexible tenor brings both sweetness and vocal weight to such classic numbers as the "Serenade"

The Student Prince

St. Paul Pioneer Press

Matt Morgan tackled the prince's schmaltz-stuffed ballads with a sweet, soaring tenor.

New York City -Pirates of Penzance

David M. Rice,

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.

New York City Opera-Pirates of Penzance

Pamela Butler,

Frederic is endearing and loveable as played by Matt Morgan. He has a genuine youthful idealism, and despair as he navigates his particular plight.

New York City Opera-Pirates of Penzance

-Brian Scott Lipton, Theater Mania

The delicate and adorable Matt Morgan -- sounding most convincingly British despite his Louisiana roots -- perfectly captures the good-hearted and slightly dim-witted Frederic.

New York City Opera-Pirates of Penzance

Martin Bermheimer, Financial Times

Matt Morgan sings and smirks sweetly as a mock-innocent Frederic.

New York City Opera-Pirates of Penzance

Elyse Sommer,

"...he's got the right hero looks and has a wonderful tenor voice."

New York City Opera-Pirates of Penzance

Victor Gluck,

Tenor Matt Morgan as Frederic is charming as the innocent but upright young Englishman.

New York City Opera-Pirates of Penzance

Allan Kozzin, New York Times

..his attractive lyric tenor served him well"

New York City Opera-Pirates of Penzance

George Loomis, New York Sun

Matt Morgan cut a fine figure as Frederick....

Gotham Chamber Opera – Albert Herring

-Bruce Hodges, Seen and Heard International

“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.”

Gotham Chamber Opera – Albert Herring

-Justin Davidson, Newsday

“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.”

Gotham Chamber Opera – Albert Herring

James R. Oestereich, New York Times

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.

Portland Opera- Il Barbiere di Siviglia

-Grant Menzies- Willamette Week

"Tenor Morgan made a silver-timbred Count Almaviva"

Nevada Opera - L'elisir D'amore

-Yvonne Beasley, Reno Gazett-Journal

"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."

Nevada Opera - L'elisir D'amore

-Jack Neal, Nevada Events and Reviews

"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."

Toledo Opera - Pagliacci

-Alan Montgomery, Opera News

"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."

Opera Theater of Pittsburgh - Die Zauberflöte

- Tribune Review

“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.”

Pittsburgh Public Theater - Mikado

- Pittsburgh City Paper

“John Matthew Morgan completely wins us over as Nanki-Poo”

Pittsburgh Public Theater - Mikado

- Ann Miner,

"There is not a weak link in the cast, but standouts include the glorious-voiced John Matthew Morgan as Nanki-Poo."

Singer goes from rock 'n' roll to Nanki-Poo

By John Hayes, Post-Gazette Staff Writer

Click Here for Article

Bard Music Festival - Die Drei Pinto

Gerald S. Fox, American Record Guide

tenor Matt Morgan (Don Gomez), soprano Frances Lucey, and bass Steven Moore (innkeeper) all sang beautifully and projected the personalities of their roles.

La Belle Helene

-The Star Tribune, January 2003

“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”

Pittsburgh Opera - Postcard From Morocco

- Tribune Review

"Tenor Matt Morgan, in his most impressive performance of the season began the scene."

Le Tragedie du Carmen

- Pittsburgh Post-Gazette

"his aria of persuasion at the end of Act 2 soars with palpable longing"

Pittsburgh Concert Chorale - Beethoven Mass in C

- Tribune Review

“Tenor Matt Morgan sang with fervor and security..."

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