Jay Hunter Morris is represented by Rayfield Allied worldwide.

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Jay Hunter Morris


  • 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 as Ahab is magnificent. He gives the old seadog a commanding, deeply etched authority
    Graham Strahle, The Australian
  • His intensity was relentless throughout and the top notes were always delivered with the same assuredness and brightness.
    David Salazar, Latinos Post
  • 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 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
  • 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 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
  • 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
  • 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
  • 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
  • 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 begins Season 2015-16 at Los Angeles Opera in a revival of one of his most successful roles, Captain Ahab Moby-Dick, in which he appeared in the original production at San Francisco Opera, State Opera of South Australia (for the Adelaide Festival), and at San Diego Opera.  He travels to Opera Philadelphia to revive the role of Teague Cold Mountain in which he had such success at Santa Fe Opera during the summer.  Houston Grand Opera welcomes Jay again as he returns to sing the role of Siegfried Siegfried, after which he travels to Warsaw to appear in the title role of a new production of Tristan und Isolde by Mariusz Trelinsky at Polish National Opera.  He returns to Glimmerglass Festival as its 2016 Artist In Residence and to sing the role of Judge Danforth The Crucible.

    Recent highlights include his performance for 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 appeared as Erik Der Fliegende Höllander at both Hawaii Opera Theatre and at Washington National Opera (a role he previously sang at Glimmerglass Festival, Los Angeles Opera, Atlanta Opera, Seattle Opera, Arizona Opera and Opera Australia), and he created the role of Teague Cold Mountain, a world premiere at Santa Fe Opera by Jennifer Higdon and directed by Leonard Foglia.

    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. The production was revived for further performances in 2012 and won the Grammy Award for Best Opera Recording in February 2013.

    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 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 L A 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 Frere Elie in the American premiere of Messiaen’s St. François d’Assise.

    • Moby Dick, Los Angeles Opera
      October 2015

      Ahab's angst is poured out via a heroic tenor in the proper Wagner way...Jay Hunter Morris, who has become associated with Ahab (although the role was written for Ben Heppner), brings a modicum of crazed commitment to the obsessed captain....
      LA Times, Mark Swed, 2 November 2015
      Jay Hunter Morris’s Ahab was the penultimate New Englander. Enunciating every syllable of the text, Morris made us believe in the America of whaling ships and seafaring men. Enduring three hours strapped into a peg leg, Morris sang the heldentenor role with the dramatic intensity of a man possessed, tempered by the character of a stoic New Englander. It was an admirable interpretation.
      Seen and Heard international, Jane Rosenberg, 2 November 2015
      Morris was properly imposing and tortured as Ahab, and clarion of voice.
      Orange County Register, Timothy Mangan, 1 November 2015
      Fully embodying Captain Ahab's monomaniacal obsession to hunt down the great white whale who had previously amputated him, tenor Jay Hunter Morris (but, of course, from oil rich Texas) is perfect as the peg-legged psychopath. Morris imbues the 58-year-old skipper with a towering presence…
      Peoples World, Ed Rampell, 2 November 2015
    • Cold Mountain, Santa Fe Opera
      August 2015

      Although tenors are usually heroes who get the girl, Teague, sung with great gusto by heldentenor Jay Hunter Morris, was a murderous villain... Morris proved to be a singer whose bronzed tones could enchant an audience while they resonated with evil.
      Maria Nockin, Opera Today, 3 August 2015
      A terrific part came to tenor Jay Hunter Morris by way of Teague, who shows up dependably to terrorize the mountain folk, ostensibly fulfilling his patriotic duty to execute deserters or people hiding them, but really because he is just a horrible, horrible person. Morris, whose operatic bona fides extend to an impressive string of Siegfrieds at the Metropolitan Opera, was not called on to put his heldentenor capacities to full use. Instead, he crafted a compelling character role full of menace — one might say, an actor’s interpretation supported by a far finer voice than most actors would possess.
      James M. Keller, The New Mexican, 2 August 2015
      Everything was so singable that baritone Gunn (the deserter Inman), soprano Leonard (the woman waiting for him) and Morris (the unscrupulous villain) all did some of their best-ever work.
      David Patrick Stearns, Philadelphia Inquirer, 3 August 2015
      Tenor Jay Hunter Morris is chilling as the slimy Union bounty.
      Gregory Sullivan Isaacs, Theater Jones, 3 August 2015
      With his Texas-bred accent and heldentenor vocals, Jay Hunter Morris personified the Javert-like bully, Teague.
      Rodney Punt, SanFrancisco Classical Voice, 4 August 2015
      Tenor Jay Hunter Morris sang the role of the villain Teague, the cruel deserter-hunter who lusts for Ada, with such dastardly glee that the audience gave him a good-natured round of “boos” at the curtain call.
      T.R. Reid, Washington Post, 16 August 2015
      Tenor Jay Hunter Morris was able to build on his previous characterization as the ruthless Ahab in Moby-Dick to give an even more vivid performance as the cold-blooded Home Guard leader Teague.
      David Patrick Stearns, Philly.com, 9 August 2015
      Jay Hunter Morris made Teague a gleeful sadist, exulting in his exercise of power.
      Heidi Waleson, Wall Street Journal, 10 August 2015
      Wonderful Jay Hunter Morris as the malicious Teague, leader of the Home Guard, is outstanding with his bright, commanding voice.
      Mary Helen Klare, ABQ Journal, 10 August 2015
      There are good performances from tenor Jay Hunter Morris as the vicious Teague, whose job it is to round up Army deserters...
      John von Rhein, Chicago Tribune, 11 August 2015
      Jay Hunter Morris was a multifaceted villain ... His voice was heroic and clear, but his actions were the opposite.
      Michael Wade Simpson, Bachtrack, 20 August 2015
      The role of Teague found Jay Hunter Morris in wonderful vocal form. Morris impressed with clean and incisive singing and provided a credibly duplicitous, and slyly evil, bounty hunter.
      James Sohre, CNY Café Momus, 21 August 2015
      The singing was always committed, usually nuanced and occasionally superb. This was no surprise in the person of Jay Hunter Morris as Teague; if he can handle Wagner’s Siegfried, it is no stretch to embody the surly sinister Home Guard captain. Morris good-naturedly accepted the lusty boos that greeted him during curtain calls.
      Greg Hettmansberger, Madison Magazine, 20 August 2015
      Jay Hunter Morris made the villain Teague a gleeful sadist, exulting in the exercise of power.
      Opera Now, October 2015, Heidi Waleson
    • The Flying Dutchman, Washington National Opera
      March 2015

      Tenor Jay Hunter Morris gives a compelling performance as Senta's devoted former boyfriend Erik.
      Benjamin Tomchik, Broadway World
      Tenor Jay Hunter Morris, as Senta’s jealous ex [...] (is) also stout voiced and well balanced. There isn’t a weak link in the bunch.
      Mike Paarlberg, Washington City Paper
      Jay Hunter Morris as Erik, Senta’s fiancé, also makes his WNO in this opera. I got to hear this American tenor up in Glimmerglass. I was struck by how he, too, brought out the humanity of his character, watching his dream of his fiancé crumble as her obsession for saving the life of the idol she has made up in her imagination takes hold. Desperately, he tries to rescue her and bring her back to the life they might know together, but in vain. His tenor voice carried all these hopes and pain.
      Susan Galbraith, DC Theater Scene
      Tenor Jay Hunter Morris was making his WNO debut as Erik, the one sensible man in the plot... sang and acted with passion.
      Hilary Stroh, Bachtrack
      Jay Hunter Morris made his own WNO debut as Erik, a role he sang at Glimmerglass in 2013... He clearly subscribes to the nasal school of Wagnerian vocal production, but his sound was big...
      Anne Midgette, The Washington Post
      Tenor Jay Hunter Morris’ bold, impetuous instrument lent swagger and some much-needed dignity to the role of Erik, Senta’s hapless, would-be fiancé.
      Terry Ponick, CommDiginews
    • The Flying Dutchman, Hawaii Opera Theater
      February 2015

      Tenor Jay Hunter Morris (Erik) almost won Senta back with his impressive Act III aria.
      Ruth Bingham, Honolulu Pulse
      Jay Hunter Morris sounds bright and plaintive as Erik
      The Opera Tatler
    • Houston Grand Opera, A Christmas Carol
      December 2014

      ...Miraculously performed by rising Wagnerian tenor Jay Hunter Morris...
      D.L. Groover, Houston Press
      I have never seen an opera singer perform with as much commitment and vividness as Jay Hunter Morris brings to Iain Bell and Simon Callow's "A Christmas Carol." No other opera may demand such a tour de force. [...] The pace demands a vocal and visual chameleon. Morris met the challenge Friday. His singing created a host of distinctive characters.
      Steven Brown, Houston Chronicle
      A performance of astounding stamina and vigour by the tenor Jay Hunter Morris.
      George Loomis, Financial Times
      As the narrator and all the characters, the Texas-born tenor Jay Hunter Morris enjoyed crisp diction. [...]He subtly altered his gait and posture to differentiate the unseen dramatis personae[...]. His middle register, where the non-stop role sits, was strong and steady [...], his understated acting was as assured as his command of the parade of closely-packed notes.
      William Albright, Opera Magazine
    • North Carolina Opera, Tristan und Isolde Act II
      November 2014

      Compelled to rise to top A♭ on the second note of his first exclamation of ‘Isolde!’ in the second scene, Jay Hunter Morris immediately displayed his command of Tristan’s punishing tessitura...and his singing of ‘O Heil dem Tranke!’ was superb. His finest vocalism of the afternoon was devoted to his launching of the lyrical section of the celebrated love duet, 'O sink' hernieder, Nacht der Liebe.’
      Voix des Arts
      The vocal athleticism and committed acting of the two leads—soprano Heidi Melton and tenor Jay Hunter Morris—were captivating.
      Todd Morman, Indyweek
    • Die Tote Stadt, Odyssey Opera
      September 2014

      As the afflicted Paul, tenor Jay Hunter Morris delivered a Herculean performance that channeled grief, ardor, jealousy, madness, and, finally, resignation and acceptance. Korngold cut the character no slack: he’s on stage for most of the opera singing music that is punishing in range and expression. Yet Morris never faltered – if anything, he seemed to gain strength as the piece proceeded – with a strong, burnished tone that easily carried over the huge orchestral forces. To the quieter moments (and there are a few, including a lovely duet with Marietta) he brought pleasing, nuanced restraint. 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.
    • 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