Morgan Smith is represented by Rayfield Allied worldwide.

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Morgan Smith


  • The poignancy of his acting, the agony in his big voice, had the audience riveted as he brought to life Scheer’s beautiful lyrics drawn from Lewin’s diary with Heggie’s music.
    Philippa Kiraly, The Sun Break
  • The real star of the cast was baritone Morgan Smith, whose Starbuck joined vocal splendor, moral authority and deep empathy in a phenomenal combination.
    Joshua Kosman, SFGate
  • The fine baritone, Morgan Smith, impressed as Marcello
    Kyle MacMillan, The Denver Post
  • The performance, by baritone Morgan Smith...was beyond praise, and the ovation that followed was rewarded with an immediate encore — a rare treat at the premiere of a substantial piece of new music.
    Bernard Jacobson, The Seattle Times
  • American baritone Morgan Smith makes a welcome return to the SFO as Starbuck, singing with power and conviction as the crewman who comes to admire his captain despite his alarming personal demons.
    Philip Campbell, The Bay Area Reporter
  • Morgan Smith was simply terrific as the first mate, Starbuck.
    Lawrence A. Johnson, The Classical Review
  • American baritone, Morgan Smith, begins Season 2016-17 by returning to the role of Sharpless Madama Butterfly at Kentucky Opera.  He continues to Dallas Opera to revive his highly-lauded portrayal of the First Mate Starbuck in Jake Heggie’s Moby-Dick, a role he sang in the original production in Dallas in 2010, and also at San Diego Opera, San Francisco Opera and last season, at Los Angeles Opera.  Back on dry land, Mr Smith travels to Oper Leipzig for a repeat appearance as Marcello La Boheme.  The artist joins Arizona Opera to inaugurate the role of vigilante John Lassiter in the world wide premiere of Riders of the Purple Sage and appears in concert with San Antonio Symphony.

    Highlights of last season include his debut as Sharpless Madama Butterfly at Opera de Montreal; he joined Baltimore Symphony to sing the title role in their Don Giovanni highlights with Markus Stenz and appeared in the role in a fully staged production at Arizona Opera. At Seattle Opera he played the Count Le Nozze di Figaro; and made his debut as the Four Villains Les Contes d’Hoffmann at Madison Opera, a resounding critical success.

    Other past successes include the role of Escamillo Carmen at Vancouver Opera which he also sang at Pittsburgh Opera; he joined Seattle Symphony for Beethoven’s Ninth Symphony and travelled to San Diego Opera to sing the role of Marcello La Boheme before returning to San Francisco to join the Gay Men’s Chorus at Davies Hall to revive the role of Manfred in Jake Heggie’s For a Look or a Touch, a role he previously inaugurated for the world premiere of the piece. He sang the title role Don Giovanni at Austin’s Lyric Opera, and the role of Aaron in Ricky Ian Gordon’s Morning Star at Cincinnati Opera for which he won outstanding reviews.

    • Moby-Dick, The Dallas Opera
      November 2016

      Morgan Smith finely acted in the role of second in command, Starbuck, and his singing was even finer. When Starbuck attempts to dissuade Captain Ahab from his fool’s mission to wreck vengeance on the white whale, the audience was treated to the evening's most powerful and passionate singing — his duets with tenor Jay Hunter Morris as Ahab in particular.
      Dallas Observer, Monice Smart, 8 November 2016’s Morgan Smith as Starbuck who makes the strongest statement: A physical, tender, powerful performance...
      Dallas Voice, Arnold Wayne Jones, 11 November 2016
    • Madama Butterfly, Kentucky Opera
      September 2016

      With a diplomatic air and a rich, velvety baritone, he upheld the title of Consul and caretaker in a fatherly way. Despite not having what one would consider to be a true aria, he expresses all of his phrases with strength and assurance., Annette Skaggs, 26 September 2016
    • Oregon Bach Festival, MacMillan Requiem
      July 2016

      Baritone Morgan Smith produced a rich and hefty sound and brought solemnity and a hint of rage to his several solo sections…
      Terry McQuilkin, The Register-Guard, 6 July 2016
    • Les Contes d’Hoffmann,  Madison Opera
      April 2016

      Baritone Morgan Smith, a fine performer, plays his dastardly roles with humor and great physicality. His Act II costume makes him look like Bela Lugosi with ET’s long, gnarly fingers, so he wisely leans toward camp rather than menace.
      The Capital Times, Lindsay Christians, 16 April
    • Le Nozze di Figaro, Seattle Opera
      January 2015

      The outstanding performances of the opening-night cast came from the aristo couple. Morgan Smith's warm-voiced Almaviva was intensely likeable and obviously still in love with his wife but frustrated by his inability to control the chaos around him...
      Thomas May, Bachtrak, 17 January 2016
      suave firebrand Morgan Smith as the Count … Smith was particularly successful as the Count, a wonderful blend of the seductive, the boorish, the bewildered and the repentant.
      Melinda Bargreen, Seattle Times, 17 January 2016
      Morgan Smith was unexpectedly appealing as Count Almaviva, with his potent baritone and fluctuating between his ill-mannered lordliness, sexy seductiveness and jealousy-provoking love for his wife.
      Maggie Larick, Queen Anne & Magnolia News, 20 January 2016
      [T]he male performer of the evening. That honor goes to baritone Morgan Smith as pompous and ridiculous Count Almaviva. His seamless comic timing was unimpeachable...
      Angela Allen, Oregon Artswatch, 22 January 2016
    • Moby Dick, Los Angeles Opera
      October 2015

      Smith’s baritone begged, cajoled, and cautioned his captain. Smith sang it all with warmth and ardor – his presence solid and reassuring even when his anxiety mounted. …Smith wrenched our hearts as he gave vent to his stricken conscience.
      Seen and Heard international, Jane Rosenberg, 2 November 2015
      Morgan Smith's Starbuck is more tortured than Ahab, which makes him a dramatically good foil.
      LA Times, Mark Swed, 2 November 2015
      Morgan Smith gives a fine performance as the no-nonsense, economically conscious first mate, Starbuck, the only man that sees Ahab’s obsession as a formula for certain doom.
      LA Daily News, Jim Farber, 2 November 2015
      Morgan Smith provided an eloquent, melodious Starbuck.
      Orange County Register, Timothy Mangan, 1 November 2015
      Baritone Morgan Smith is especially moving as Starbuck, the ship's mate who considers killing Ahab in order to save the crew from his dangerous obsessions with the titular great white whale., Lyle Zimskind, 5 November 2015
      Ahab’s foil, and conscience, Mr Starbuck, was sung by Morgan Smith, who created the role. A naturally grainy sound, Mr Smith’s baritone was ideally suited for the first mate. It is a role that Heggie imbues with sympathy and complexity. Starbuck’s pious struggle is a remarkable creation of music and character thanks to Heggie and Smith, and pitted against Morris’ Ahab, this was must-see theater.
      Bachtrack, Matthew Richard Martinez, 9 November 2015
      Smith has been singing Starbuck since the Dallas premiere, and his virile baritone is colored with nuance and emotion, especially in a refreshingly melodic Act II duet about Nantucket with Ahab.
      Frontiers Media, Christopher Cappiello, 23 November 2015,
    • Madama Butterfly, Opéra de Montréal
      September 2015

      Morgan Smith, an American baritone making his Opéra de Montréal debut, got a big hand for his dark-toned, but sympathetic, portrayal of Sharpless.
      Montreal Gazette, Arthur Kaptainis, 20 September, 2015
      ...while Morgan Smith’s Sharpless won the prize for best voice..
      Avant-Scène Opéra, Louis Bilodeau, 19 September 2015
    • An American Dream, Seattle Opera
      August 2015

      The singing was uniformly excellent. (…) As the American husband, baritone Morgan Smith, a former Seattle Opera Young Artist, produced especially handsome volumes of tone that grew convincingly darker and more emphatic.
      Jason Victor Serinus, Classical Voice North America, 25 August 2015
    • Morning Star, Cincinnati Opera
      July 2015

      Morgan Smith is an amazing baritone and I wish that Aaron’s character had more depth, but Smith makes it his own and it’s worth hearing.
      Anne Arenstein, Cincinnati City Beat, 1 July 2015
      Smith's firm baritone and natural stage presence were assets in the role of Becky's boarder-turned-suitor. Gordon's song for him, "Marry Me, Becky," had the kind of instant appeal that is destined for life beyond the opera stage.
      Janelle Gelfand, Cincinnati Enquirer, 1 July 2015
    • Carmen, Pittsburgh Opera
      March 2015

      Carmen’s chemistry with Escamillo, portrayed by Morgan Smith, was a different story. The baritone, also in his company debut, delivered a striking physical and vocal demeanor, and his compelling, dark-hued performance of the Toreador Song featured equal parts grit and cockiness.
      Elizabeth Bloom, Pittsburgh Post-Gazette
      Morgan Smith, in the role of Escamillo, also made his Pittsburgh Opera debut. He is a striking figure and made the most of the comparatively small role. His rendition of the famous “Toreador Song” was a treat.
      George B. Parous, The Pittsburgh Stage Online Magazine
    • La Bohème, San Diego Opera
      January 2015

      The most impressive voice on stage belonged to Smith. He’s also a superb actor and his voice was always in service to his character.
      James Chute, UT San Diego
      Morgan Smith as the ring leader, Marcello, sang with a distinct gravelly baritone.
      Matthew Richard Martinez, Bachtrack
      Among the men, the standouts are baritone Morgan Smith...
      Pat Launer, Times of San Diego
      As Rodolfo’s sidekick Marcello, Morgan Smith reproduced the vocal beauty he displayed as Starbuck in SDO’s 2012 Moby-Dick. The voice is simply gorgeous. His bursts of temperament as the archetypal volatile artist and jealous lover were wholly believable and empathetic.
      Erica Miner, Opera Pulse
    • Jake Heggie: Out of Darkness Naxos recording
      November 2014

      The recording captures the 2013 song-cycle version of “For a Look or a Touch”, powerfully sung by baritone Morgan Smith, who also is heard in “Farewell Auschwitz.”
      Melinda Bargreen, The Seattle Times
      Baritone Morgan Smith is vocally polished...
    • Carmen (Escamillo), Vancouver Opera
      September 2014

      Morgan Smith’s Escamillo (the matador) superbly delivered machismo with every cell of his body, especially the famous “Toreador” song, which he sang like a proud cockerel (also, his spoken French made everyone else by contrast sound like they were speaking Air Canada French).
      Jason Hall, Vancouver Observer
    • The Passenger, Houston Grand Opera - Lincoln Center Festival
      July 2014

      The cast is flawless. The baritone Morgan Smith is the heroic Tadeusz, Marta’s fiancé. For the scene in which they discover that they are both at the camp, and alive, Weinberg provides music of pungent longing and subdued ardor.
      Anthony Tommasini, The New York Times
      Smith carried the strength and determination of Tadeusz with confident ease, and the power of his voice expressed the character’s defiance.
      George Grella, New York Classical Review
      The opera was strongly cast. As Marta's fiancé Tadeusz, baritone Morgan Smith shares some of the opera's most heartfelt music with a resonant voice and thoughtful portrayal.
      Richard Sasanow, Broadway World
      Sung ardently by Morgan Smith, Tadeusz comes across as a man of pure integrity.
      Ronni Reich, New Jersey Online
    • Silent Night, Kevin Puts, Fort Worth Opera
      (May 2014)

      Smith nearly brought down the house as French Lieutenant Audebert in his Act I aria before the gorgeous “Sleep” chorus.
      David Weuste, Opera Pulse
    • Die Tote Stadt, Dallas Opera
      March 2014

      Morgan Smith all but steals Act 2 as an actor-friend of Marie.
      Arnold Wayne Jones, Dallas Voice
      The scene also happened to feature some of the best performances of the night, featuring baritone, Morgan Smith, who absolutely stole the show with Pierrot’s Lied in the role of Fritz.
      David Weuste, Opera Pulse
      Morgan Smith's Fritz brough thick tone to the opera's second great aria.
      Scott Cantrell, Opera Magazine
    • The Passenger, Houston Grand Opera
      January 2014

      Morgan Smith, a warm and powerful baritone, likewise stood as a pillar of courage and constancy
      Gregory Barnet, Opera News
      Morgan Smith has apt baritonal and dramatic depth for the bravely defiant Tadeusz
      Scott Cantrell, Dallas News
      The baritone Morgan Smith sang strongly as Marta's fiancé Tadeusz, whose proud defiance of camp authority dooms him to the gas chamber.
      William Albright, Opera Magazine
    • Moby Dick DVD San Francisco Opera live recording
      November 2013

      Starbuck is exceedingly well executed by Morgan Smith. Smith’s altercation with Hunter Morris will leave one breathless.
      Christie Grimstad, ConcertoNet
      Morgan Smith is the sturdy first mate Starbuck, with a baritone to match.
      Scott Cantrell, Dallas News
    • Mourning Becomes Electra, Florida Grand Opera
      November 2013

      Morgan Smith was a vocal standout as the sea captain Adam Brant, with whom Christine (and possibly Lavinia), is in love. Smith’s terrific second-act aria, with ship’s rigging in the background, about giving up the sea and his bewilderment at his predicament was a highlight of the evening.
      David Fleshler, South Florida Classical Review
      Morgan Smith brought a richly textured baritone and some sympathy to Adam.
      Heidi Waleson, The Wall Street Journal
      Especially interesting is Morgan Smith making a rather sympathetic bad guy. His diction is particularly clear and this handsome man makes his love and lust for the older Christine absolutely believable in spite of his other motivations.
      Jeff Haller, Concertonet
      In the male roles, baritone Morgan Smith, as Adam Brant, offered a creamy voice that sounded youthful and passionate, well-suited for this role. In his Too weak to kill the man I hate, which in this production opened Act II, and in You gave the gift of love, the tenor-like qualities of his instrument were most appealing.
      Palm Beach Arts Paper
      Baritone Morgan Smith as Adam Brant has a beautiful voice and was given the opportunity to sing the best aria in the production, "Too weak to kill the man I hate." His voice, coupled with his extreme good looks, made him the perfect lover/villain for the piece.
      Jack Gardner, Edge Boston
    • Moby Dick, San Francisco Opera
      Oct 2012

      Morgan Smith was simply terrific as the first mate, Starbuck. […] Smith brought dramatic authority to the conflicted Christian first mate and sang with a burnished baritone and stern power while also bringing a nostalgic yearning to his moments of homesickness for his wife and family.
      Lawrence A. Johnson, The Classical Review
      American baritone Morgan Smith makes a welcome return to the SFO as Starbuck, singing with power and conviction as the crewman who comes to admire his captain despite his alarming personal demons.
      Philip Campbell, The Bay Area Reporter
      The real star of the cast was baritone Morgan Smith, whose Starbuck joined vocal splendor, moral authority and deep empathy in a phenomenal combination.
      Joshua Kosman, SFGate
      One sets a tender conversation between Greenhorn and Starbuck, the principled first mate, who becomes lost in a reverie, recalling his wife Mary and young son back in Nantucket. Baritone Morgan Smith, as Starbuck, has a strapping voice, sturdy as a mahogany beam, but here he sings with lovely, cooing sweetness.
      Richard Scheinin, Mercury News
    • La Bohème, Opera Colorado
      Sept 2010

      The fine baritone, Morgan Smith, impressed as Marcello.
      Kyle MacMillan, The Denver Post
  • Morgan Smith’s Opera Repertoire

    • Fidelio (Don Pizarro)
    • Carmen (Escamillo)
    • Lucia di Lamermoor (Enrico)
    • La Favorita (Alphonse XI)
    • Dead Man Walking (Joseph DeRocher)
    • Moby-Dick (Starbuck)
    • Cavalleria Rusticana (Alfio)
    • Herodiade (Hérode)
    • Thans (Athanaël)
    • Don Giovanni (Title role)
    • Le Nozze di Figaro (Count Almaviva)
    • Les Contes d'Hoffmann (Four Villains)
    • Madama Butterfly (Sharpless)
    • La bohéme (Marcello)
    • La Fanciulla del West (Jack Rance)
    • Tosca (Scarpia)
    • Manon Lescaut (Lescaut)
    • Il Tabarro (Michele)
    • Guglielmo Tell (Title role)
    • Sweeney Todd (Title role)
    • Salome (Jochanaan )
    • Elektra (Orest)
    • The Rake's Progress (Nick Shadow)
    • Eugene Onegin (Title role)
    • La Traviata (Germont)
    • Falstaff (Ford)
    • Don Carlo (Rodrigo)
    • Ernani (Don Carlo)
    • Il Trovatore (Conte di luna)
    • Un Ballo in Maschera (Renato)
    • Otello (Iago)
    • I Masnadieri (Francesco)
    • Amonasro (Aïda)
    • Tristan und Isolde (Kurvenal)
    • Das Rheingold (Donner)
    • Lohengrin (King's Herald)
  • Photos

    • Photographer Credit: Nico Hudak
      Photographer Credit: Nico Hudak
    • Photographer Credit: Nico Hudak
      Photographer Credit: Nico Hudak
    • Photographer Credit: Nico Hudak
      Photographer Credit: Nico Hudak
    • Photographer Credit: Nico Hudak
      Photographer Credit: Nico Hudak
    • Photographer Credit: Nico Hudak
      Photographer Credit: Nico Hudak