Morgan Smith is represented by Rayfield Allied worldwide.
Associate Artist Manager:
Morgan Smith was simply terrific as the first mate, Starbuck.Lawrence A. Johnson, The Classical Review
American baritone, Morgan Smith, begins Season 2013-14 with his role and house debut as Adam Brandt Mourning becomes Electra at Florida Grand Opera. He travels to Texas to appear as Tadeusz The Passenger in the US premiere at Houston Grand Opera, while at Dallas Opera, he joins a sterling cast for the role of Fritz Die Tote Stadt. He remains in Texas to appear as Lt. Audebert Silent Night in Fort Worth Opera’s presentation of Kevin Puts’s highly successful work that was premiered last season.
Spring finds the artist returning to a Jake Heggie piece that was written with him in mind, For a Look or a Touch, a one-act opera that premiered in Seattle in April, 2011, for baritone, actor, piano quintet, percussion, and 200-strong male voice choir, which he sings with San Francisco’s Gay Men’s Chorus for a return performance in Seattle and a multi-city tour of Europe. A frequent collaborator with the composer, Mr Smith considers the opportunity to collaborate on the world premiere and recording (NAXOS) of this dramatic chamber work among his most rewarding personal and artistic experiences. The artist concludes the season with repeat performances of The Passenger at Lincoln Centre in New York.
Recent successes include his return to San Francisco Opera for the role of Starbuck in Jake Heggie’s Moby-Dick, a role he inaugurated for the world premiere at Dallas Opera and later sang at San Diego Opera. He returned to Oper Leipzig for the roles of Figaro Il Barbiere di Siviglia, Billy The Rise and Fall of the city of Mahagonny, Papageno Die Zauberflote, Marcello La Boheme and Guglielmo Cosi fan tutte. Additionally he joined the roster at Glyndebourne Festival as Figaro (cover) Le Nozze di Figaro.
Morgan Smith made his European debut in the 2009-2010 Season at Berlin Staatsoper as Marcello, and at Oper Leipzig as Rossini’s Figaro, Papageno, Marcello, Leandre The Love for Three Oranges and Whitelaw Savory One Touch of Venus.
A graduate of Columbia College and Mannes College of Music in New York City, the artist became a member of the Seattle Opera young artist program in 1999 where he remained for two seasons, during which time he made his professional debut as Donald Billy Budd, and where he sang roles such as the title role Don Giovanni, Silvio I Pagliacci, Riccardo I Puritani, and Peter Niles Mourning becomes Electra.
In the 2008-2009 Season, audiences heard him as Escamillo Carmen at Fort Worth Opera and Morales and Zuniga at Los Angeles Opera. At Portland Opera, he appeared as Dandini La Cenerentola.
Adept in all kinds of contemporary repertoire, Morgan Smith created the role of Ted Steinert in Thomas Pasatieri’s Frau Margot in the world premiere at Fort Worth Opera and on the recording (Albany Records). He inaugurated the role of “Harry or Larry” in the New York premiere of Elliot Carter’s What Next? at The Miller Theater; he covered Gerald Finley as Robert Oppenheimer in the world premiere of John Adams’ Dr. Atomic, commissioned by San Francisco Opera; he sang the world premiere of Richard Cumming’s Aspects of Hippolytus with Hartford Symphony, and created the title role in the Tony Kushner/Maurice Sendak adaptation of Hans Krasa’s children’s opera, Brundibar (recorded by NAXOS).
Other roles in the artist’s repertoire include Don Alvaro Il Viaggio a Reims, Slook La Cambiale di Matrimonio, Top The Tenderland, and Belcore L’elisir d’amore. Roles in preparation include Count Almaviva Le Nozze di Figaro, Joseph DeRocher Dead Man Walking, Malatesta Don Pasquale, title role Billy Budd, Sharpless Madama Butterfly, Wolfram Tannhaueser, Zurga Les Pecheurs de Perles, and Rodrigo Don Carlo.
A regular on the concert stage, Mr Smith recently made his Dallas Symphony debut in Bach’s St. Matthew Passion, and debuted with the San Antonio Symphony for the North American premiere of Vier Präludien und Ernste Gesänge, Detlef Glanert’s orchestral adaptation of the beloved cycle by Brahms. Other concert repertoire includes Beethoven’s Ninth Symphony, the Requiems of Brahms, Faure, Mozart and Durufle; the Mass in C Minor of both Mozart and Vaughan Williams, Bach’s B Minor Mass and numerous Cantatas, Weihnacht’s Oratorium, Handel’s Messiah and L’allegro Spirituoso, Haydn’s The Creation and Lord Nelson Mass.
Conductors who have joined him on the podium include Jaap van Zweden, Patrick Summers, Donald Runnicles, Gerard Schwarz, Eduardo Mueller, Ulf Schirmer, Sebastian Lang-Lessing, George Manahan, Richard Buckley, Vyekeslav Sutej, Christopher Larkin, Joseph Colaneri, Richard Cummings, Jack Everly, William Lacey, Dean Williamson and Ken Masur.
Future engagements include the title role Don Giovanni at Austin Lyric Opera, and Marcello at San Diego Opera.
Moby Dick DVD San Francisco Opera live recording
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
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
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
The fine baritone, Morgan Smith, impressed as Marcello.Kyle MacMillan, The Denver Post