Jay Hunter Morris is represented by Rayfield Allied worldwide.

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Jay Hunter Morris


  • His intensity was relentless throughout and the top notes were always delivered with the same assuredness and brightness.
    David Salazar, Latinos Post
  • His voice rang through the orchestra during monumental passages in Act one that include the two anvil songs and Siegfried's rage against Mime.
    David Salazar, Latinos Post
  • The night’s bright star was Texas tenor Jay Hunter Morris... He sang with consistent warmth and authority
    Joe Dziemianowicz, New York Daily News
  • Morris triumphed as Ahab, sounding authoritative and full. The baritonal qualities of his voice came out in last night's performance. He was also utterly frightening and commanding in the role.
    The Opera Tatler
  • Mr. Morris brought impressive stamina and robust character to his singing... and in more reflective, lyrical passages, he sang with tenderness and subtlety.
    New York Times
  • Jay Hunter Morris as Ahab is magnificent. He gives the old seadog a commanding, deeply etched authority
    Graham Strahle, The Australian
  • The simple conviction with which Morris imbued Paul’s closing aria, a reprise of Marietta’s Lute Song, and nailed the high B-flat at the end, capped off an interpretation of the role that was vital and tremendously impressive.
    Jonathan Blumhofer, The Arts Fuse
  • In the title role [of Siegfried], Jay Hunter Morris has the best qualities of a heldentenor, with a forward sound, edge and natural high notes.
    Janos Gereben, San Francisco Chronicle
  • Jay Hunter Morris impressively held his own ground. An appealing and strong-but-sensitive Calaf, Morris sang the famous “Nessun dorma” far forward in his voice for ring and power.
    Ruth o. Bingham, Honolulu Pulse
  • As the afflicted Paul (Die Tote Stadt, Odyssey Opera, Boston), tenor Jay Hunter Morris delivered a Herculean performance that channeled grief, ardor, jealousy, madness, and, finally, resignation and acceptance.
    Jonathan Blumhofer, The Arts Fuse
  • Morris grew stronger as the night wore on, singing his Act 3 narrative with a sweetness of tone rare among Wagnerian heroes.
    Mike Silverman, Mercury News
  • Morris also wove glorious legati in some of quieter sections of the work, including his intimate passage in which he wonders about his parents ("Dass der mein Vater nicht ist.")
    David Salazar, Latinos Post
  • Jay Hunter Morris begins Season 2014-15 at Boston’s newest performing arts organization, Odyssey Opera, in the role of Paul Die Tote Stadt in a concert performance, a role he debuted at Dallas Opera last season.  He travels to North Carolina to sing the role of Tristan Tristan und Isolde in concert, and goes on to make his role debut as Herod Salome during Opera San Antonio’s inaugural season alongside Patricia Racette singing her first Salome.  He sings the role of Erik Der Fliegende Höllander at both Hawaii Opera Theatre and at Washington National Opera, and finishes the season on a high note by creating the role of Teague Cold Mountain, a world premiere at Santa Fe Opera by Jennifer Higdon and directed by Leonard Foglia.

    Last season’s highlights include his debut as Calaf Turandot at Hawaii Opera Theatre in Honolulu, and concert performances of Cavaradossi Tosca under the baton of Roberto Minczuk in Calgary. He closed the season by returning to the role of Siegfried Siegfried in Budapest for the Wagner Days Festival at the Palace of Arts under the baton of Adam Fischer.

    Mr Morris embarked on his Ring career when he covered Siegfried Siegfried and Götterdämmerung at Seattle Opera in 2009, and again the following season in addition to the role of Siegmund Die Walküre during Los Angeles Opera’s Ring Cycle in 2010. In 2011, he made his debut as Siegfried Siegfried at San Francisco Opera under the baton of Donald Runnicles. He appeared at The Metropolitan Opera as Siegfried in the complete new Ring cycle by Robert Lepage in 2011, which was broadcast live to cinemas worldwide and is still on the current playlist in the US on PBS. Revival performances at the Metropolitan Opera continued in 2012.  The production was revived for further performances in 2012 and won the Grammy Award for Best Opera Recording in February 2013.

    Other notable career successes include his appearance in the principal role of Captain Ahab in Jake Heggie’s celebrated opera, Moby-Dick,which he sang at the Adelaide Festival, San Diego Opera and at San Francisco Opera where it was recorded for commercial DVD release and broadcast in the US as part of PBS’s Great Performances series. 

    Mr Morris recently sang the role of Erik Der Fliegende Holländer at Glimmerglass Festival and at Los Angeles Opera, a role he previously sang at Atlanta Opera, Seattle Opera, Arizona Opera and Opera Australia; he made his debut at Vienna Konzerthaus under the baton of Kent Nagano for performances of Schoenberg’s Gurrelieder and sang concert performances of Tristan Tristan und Isolde at Palau de les Arts Reina Sofia Valencia under the baton of Zubin Mehta.

    Previous notable appearances include Canio I Pagliacci at Florida Grand Opera, Atlanta Opera and Houston Grand Opera; Steva Jenufa at Opera Monte Carlo, The Metropolitan Opera and Dallas Opera; Florestan Fidélio at Portland Opera; Walther Tannhäuser with Tokyo Opera Nomori, Dimitri Boris Godunov and the Drum Major Wozzeck at San Diego Opera; Pinkerton Madama Butterfly at Opera Australia; Des Grieux Manon Lescaut with Seattle Opera; Walther Die Meistersinger von Nürnberg at San Francisco Opera and Staatsoper Frankfurt; Bacchus Ariadne auf Naxos at Opera de Nice and Dallas Opera. 

    A contemporary opera veteran of great renown, Mr Morris has created many roles in world premieres, including Captain James Nolan Doctor Atomic at San Francisco Opera and De Nederlandse Opera the following season; the role of Marky in Cronenburg’s The Fly (Howard Shore) at Théâtre du Châtelet in Paris and at Los Angeles Opera (under the baton of Placido Domingo); the role of Unferth in Elliott Goldenthal and Julie Taymor’s Grendel, at LA Opera and at Lincoln Center Festival. Also at San Francisco Opera, he sang Father Grenville in the world premiere of Jake Heggie’s Dead Man Walking, Mitch in André Previn’s A Streetcar Named Desire, and Frère Elie in the American premiere of Messiaen’s St. François d’Assise.

    Other roles in the artist’s repertoire include the title roles in Peter Grimes and Samson et Dalila.

    In 2012, Jay Hunter Morris published his first book, “Diary of a Red-Neck Opera Zinger”, a humorous collection of stories from this remarkable artist’s life in classical music. 

    • Siegfried, Budapest Palace of Arts
      June 2014

      As ever, Jay Hunter Morris is an engagingly cheerful and pleasant-voiced Siegfried. He’s at his best in Act II and the early part of Act III, as Siegfried revels in his new found power and freedom, and the joys of following the woodbird. Morris makes much use of a technique of starting a note very cleanly, and then growing the volume and thickening out the timbre so that the note swells in expressivity as it progresses. It’s thrilling to listen to, and was particularly lovely in the passages where Siegfried is singing about the imagined loveliness of the mother he has never met.
      David Karlin, Bachtrack
      Equipped with low harmonics in the higher range of his tessitura, but also with the specific light of the Heldentenor (originally slightly nasal), Jay Hunter Morris is accurate and very present throughout his significant interpretation . His Siegfried works perfectly and makes a great impression.
      Bertrand Bolignesi, Anaclase
    • Die Tote Stadt, Dallas Opera
      March 2014

      Jay Hunter Morris, does an absolutely stunning job of portraying the crazed lover; using wonderful phrasing to bring across the characters raw reactions to all of the things he thinks are happening around him. His acting also helps to continue to remind the audience that it’s not the story that’s a little crazy — it’s him.
      David Weuste, Opera Pulse
      As Paul, Jay Hunter Morris, completely inhabits the role and valiantly meets its vocal demands, without ever appearing to be holding back. He ends the opera with his voice strong and, amazingly, still intact. He has clarion high notes and can sing softly as well. His characterization is also right on. You believe him every second. Also, Morris’ refined and blond good looks would certainly attract someone as sybaritic as Marietta.
      Gregory Sullivan Isaacs, Theater Jones
      As Paul, Jay Hunter Morris had the requisite decibels, and he certainly portrayed the character's descent into degradation effectively.
      Scott Cantrell, Opera Magazine
    • Moby Dick DVD San Francisco Opera live recording
      November 2013

      With profuse sweat dripping down his face and blood vessels ready to pop in his temple is evidence enough of how much Jay Hunter Morris lives his role…the drive and draw are downright scary, yet he also shows his softer side while singing his “The Symphony” with Starbuck which is exceedingly well executed by Morgan Smith. Smith’s altercation with Hunter Morris will leave one breathless.
      Christie Grimstad, ConcertoNet
      Perhaps the main beneficiary of the camera is tenor Jay Hunter Morris, whose performance as Ahab boasts a manic intensity.
      Joshua Kosman, SF Gate
      Hunter Morris sings finely..., and his portrait of the demented and ultimately doomed Captain is full of subtlety and depth...His interaction with baritone Morgan Smith as Starbuck is the stuff of vivid drama.
      Piers Burton-Page, International Record Review
    • Der Fliegende Hollander, Glimmerglass Festival
      July 2013

      The tenor Jay Hunter Morris, a Wagnerian hero to be reckoned with after his portrayals of Siegfried at the Metropolitan Opera and the San Francisco Opera, gave a powerfully sung, physically impassioned account of Erik, Senta’s discarded lover.
      Steve Smith, New York Times
    • Moby Dick, San Francisco Opera
      October 2012

      Here's the top take-away from San Francisco Opera's "Moby-Dick": the power of tenor Jay Hunter Morris as Ahab, peg-legged commander of the good ship Pequod, spouting his words like water from the blowhole of a whale. At Wednesday's opening performance, in this adaptation of Herman Melville's epic novel, he sang with a pressurized fury that practically shook the seats of the War Memorial Opera House. Think Old Testament. Think King Lear. Amazing Morris stepped on stage and announced Ahab's obsession, his will to capture and kill the great white whale: "Infinity! Infinity! We will harvest infinity!"
      Richard Scheinin, Mercury News
      Much of the opera is a duet between Jay Hunter Morris as Ahab and Morgan Smith as Starbuck. Both are superb. Morris, the new leading heldentenor in San Francisco and Metropolitan Opera Wagner roles, handles the high-tessitura effortlessly.
      Janos Gereben, The San Francisco Examiner
      Jay Hunter Morris triumphed as Ahab, sounding authoritative and full. The baritonal qualities of his voice came out in last night's performance. He was also utterly frightening and commanding in the role.
      The Opera Tatler
      As Ahab, tenor Jay Hunter Morris sang tirelessly and with fierce lyricism in some of the opera's more fine-grained scenes.
      Joshua Kosman, San Francisco Chronicle
      Heroic tenor Jay Hunter Morris currently occupies – no, dominates – this rare company of tenors, and his performance of Ahab was magnificent. [...] Morris communicated the captain’s descent into madness with terrifying dramatic and vocal intensity. As Morris has emerged as the Siegfried of our day, his Ahab is another portrayal that must be seen to be believed. http://www.bachtrack.com/review-san-francisco-opera-moby-dick-jake-heggie
      Jeffery S McMillan, Bachtrack
      Morris has the heldentenor chops to dig into the part, as he has proved before in his appearances in the SFO's Ring cycle. [...] Morris still makes an indelible impression with his acting, and he has a fine voice.
      Philip Campbell, The Bay Area Reporter
    • The Ring, Metropolitan Opera
      April 2012

      The surprise of this “Ring” is Jay Hunter Morris in the title role of “Siegfried.” Though he is not a heldentenor by natural endowment, he has found his own way to sing this voice-killing role with youthful verve and a somewhat lighter yet full-bodied sound
      Anthony Tommasini, The New York Times
      Jay Hunter Morris continued to use his good will and lovely voice to great effect right through the end.
      Brian, OutWestArts
    • Götterdämmerung, Metropolitan Opera
      Jan 2012

      The night’s bright star was Texas tenor Jay Hunter Morris, as the duped and doomed Siegfried. He sang with consistent warmth and authority. He also brought a moment of intentional humor in a flirty exchange with a trio of trilling Rhinemaidens.
      Joe Dziemianowicz, New York Daily News
    • Siegfried, Metropolitan Opera
      October 2011

      Jay Hunter Morris, the Texas tenor who plays the rigorous title role with a rich and easy musicality and a hearty vigor fitting for a fearless young man in search of his destiny.
      Joe Dziemianowicz, New York Daily News
      Jay Hunter Morris, who took over the punishing title role just a week before the premiere, has a bright, pliant tenor—not large, but ringing and energetic. He brought an appealing goofiness, youthful impulsivity and bumptious self-confidence to Siegfried.
      Heidi Waleson, The Wall Street Journal
      He looked terrific and, nasal twang notwithstanding, sang with remarkable stamina, expressive force and dynamic sensitivity.
      Martin Bernheimer, Financial Times
      He sang Siegfried with innocence and youthful enthusiasm. His voice is not large, yet it rode buoyantly on the crest of Luisi's lyrical orchestra. Morris was broad-shouldered and handsome as Wagner's dragon-slaying hero. He was convincing as a young man who roams the wilderness, bonds with the birds of the forest and explores his country. Then he climbed to the top of a rocky mountain, walked through fire and awakened Deborah Voigt
      Steve Cohen, The Opera Critic
      Morris, replacing Gary Lehman who bowed out due to a viral infection, filled the heroic part with remarkable grace. There is a natural quality to his singing that produces an evenly luminous, unforced, sound. His forest scene in Act II, where Siegfried reflects on the mother he never knew, was lush and dreamy. There was a sense of him singing from inside the music rather than wrestling with it.
      Corinna da Fonseca-Wollheim, The Classical Review
    • Moby Dick, South Australian Opera
      August 2011

      Jay Hunter Morris as Ahab is magnificent. He gives the old seadog a commanding, deeply etched authority.
      Graham Strahle, The Australian
    • Siegfried, San Francisco Opera
      May 2011

      In the title role, Jay Hunter Morris has the best qualities of a heldentenor, with a forward sound, edge and natural high notes.
      Janos Gereben, San Francisco Chronicle
      Morris, who had previously sung the role of Ahab in last year’s State Opera of South Australia production, was splendid. With only a single walk-through before Tuesday’s performance, he seemed to completely inhabit the role.
      James Chute, UT San Diego
      Mr. Morris brought impressive stamina and robust character to his singing. He smartly held back during endurance-test episodes of the opera, like the forging scene. And in more reflective, lyrical passages, he sang with tenderness and subtlety.
      Anthony Tommasini, New York Times
    • Fidelio, Portland Opera
      November 2008

      Jay Hunter Morris made a memorable impression as Florestan with a voice that had equal measures of power and beauty. His first appearance and long aira, “In des Lebens” was filled with tangible passion and longing. Morris had everyone in the palm of his hand as he slowly got up from the stage floor and came closer and closer to the audience until he finally realized that his feet were still chained to the wall.
      James Bash, Northwest Reverb
      Jay Hunter Morris sang the manacled Florestan with a fascinating mix of power and effort, strength and despair. Every note carried sharp pain.
      David Stabler, The Oregonian
  • Jay Hunter Morris’ Opera Repertoire

    • Vanessa (Anatol)
    • Fidelio (Florestan)
    • Wozzeck (Drum Major)
    • Carmen (Don Jose)
    • Peter Grimes (Peter Grimes)
    • Susannah (Sam Polk)
    • Of Mice and Men (Lennie)
    • Grendel (Unferth)
    • Dead Man Walking (Father Grenville)
    • Moby Dick (Captain)
    • Jenufa (Laca, Steva)
    • Kat’a Kabanova (Tichon)
    • Die Tote Stadt (Paul)
    • Pagliacci (Canio)
    • Boris Godunov (Dmitri)
    • A Streetcar named Desire (Mitch)
    • Madama Butterfly (F B Pinkerton)
    • Manon Lescaut (des Grieux)
    • Tosca (Cavaradossi)
    • La Boheme (Rodolfo)
    • Turandot (Calaf)
    • La Fanciulla Del West (Dick Johnson)
    • The Tsar's Bride (Lykov)
    • Samson et Dalila (Samson)
    • The Bartered Bride (Jenik)
    • Ariadne auf Naxos (Bacchus)
    • Salome (Narraboth)
    • Otello (Otello)
    • Aida (Radames)
    • Der Fliegende Holländer (Erik)
    • Die Meistersinger von Nürnberg(Walther von Stolzing)
    • Lohengrin (Lohengrin)
    • Der Ring des Nibelungen (Siegfried)
    • Die Walküre (Siegmund)
    • Parsifal (Parsifal)
    • Tristan und Isolde (Tristan)
  • Photos