William Morgan’s current and future engagements include FREDERIC The Pirates of Penzance and TAMINO Die Zauberflöte English National Opera, FREDDY Dove’s Marx in London Scottish Opera, FERRANDO Così fan tutte Irish National Opera, TOM RAKEWELL The Rake’s Progress Théâtre Orchestre Bienne, WALTHER/HUGO/OLD WOMAN in Judith Weir’s Blond Eckbert Aldeburgh Festival and COLONEL FAIRFAX Yeomen of the Guard Opera Holland Park.
Most recent engagements include Candide (title role) and MARCO The Gondoliers Scottish Opera, Cheryl Frances-Hoad’s Scenes from the Wild (world premiere) City of London Sinfonia, his Teatro dell’Opera di Roma debut in Dialogues des Carmélites, ANTHONY Sweeney Todd West Green Opera, TALUS Michael Zev Gordon’s Raising Icarus (world premiere) Birmingham Contemporary Music Group, DON OTTAVIO Don Giovanni and FERRANDO Longborough Festival, PRUNIER La Rondine West Green Opera, TUOMAS cover in Saariaho’s Innocence Royal Opera House, Covent Garden, as well as VICTORIN The Dead City, WRITER Jack the Ripper (world premiere), FIRST PRIEST The Mask of Orpheus and REPORTER Orphée English National Opera, Williams’s Serenade to Music BBC Scottish Symphony Orchestra at BBC Proms, TOM RAKEWELL The Rake’s Progress Gothenburg Symphony, TAMINO Die Zauberflöte Scottish Opera, and Johann Strauss Gala tour Raymond Gubbay Ltd.
William made his ENO debut as YOUNGER MAN in Tansy Davies’ Between Worlds Barbican. As an ENO Harewood Artist he sang PETER QUINT The Turn of the Screw, HOT BISCUIT SLIM Paul Bunyan, and PHAETON in Jonathan Dove’s The Day After. Other opera work includes roles in Falstaff Royal Liverpool Philharmonic (with Bryn Terfel), YOUNG KING (cover) Lessons in Love and Violence Royal Opera House, Covent Garden, MISAEL in Britten’s The Burning Fiery Furnace Scottish Opera, PASTORE/SPIRITO and cover APOLLO Monteverdi’s L’Orfeo Bayerische Staatsoper, ANTHONY Sweeney Todd Longborough Festival, and Hippolyte et Aricie (with William Christie) Glyndebourne.
William has performed concerts at the Oxford Lieder Festival, Royal Albert Hall’s Elgar Room, the Royal Overseas League, the Royal Festival Hall, The Barbican, St John’s Smith Square, and Canterbury Cathedral, and has been broadcast on BBC Radio 3. He was a National Opera Studio young artist sponsored by ENO, graduated from the Royal College of Music, and continues to study with Tim Evans-Jones.
Emma Ventris
Mobile: + 44 (0) 7780315176
Email: emma@atholestill.co.uk
Representation: Worldwide
News | William Morgan
News | Lucy Schaufer, William Morgan
"The other outstanding piece of singing came from William Morgan as the imprisoned Colonel Fairfax, a brightly ringing tenor voice to make you sit up and take notice."
Bachtrack
"Usually doubled by the tenor playing Quint, on this occasion the Prologue is sung separately by William Morgan, who injects some tangible unease right at the start with his knowing smile and a touch of tonal menace."
Financial Times
"The listening Walter, William Morgan – later becoming Hugo, then the Old Woman – brought a clear tenor voice to all three roles with striking resonance."
Gramophone
"William Morgan proved that his fingers are as nimble as his vocal cords, giving a creditable rendition of the renowned violin solo. Despite his musical acrobatics he twirled impetuously around the haughty Eurydice and slid along the floor on his back, with no obvious negative effect on intonation or finger-work."
Opera Today
"William Morgan’s Quint ... we fully believe he is 'free with everyone', chameleon-like, sinuous, bestial, with just a touch of the Johnny Depp charm about him; musically beguiling, too, yet Morgan can produce raw bite when he wants to attack a consonant."
Classical Source
"At its heart is a charismatic performance from tenor William Morgan in the title role (...) This Candide rocks between ribald nonsense and the deeply moving with startling ease"
The Herald
"William Morgan sings Candide with wide-eyed simplicity, bringing warm conviction to his final epiphany"
The Times
"An electrifying, immersive thrill. William Morgan was Candide (...) singing with undimmed freshness as his wounds grew bloodier"
The Spectator
"William Morgan made Don Ottavio less supine and reactive than is often the case and he sang both arias with impressive lyricism and urgency, with a lovely result in the lightly virile 'Il mio tesoro'."
Opera
"The subtly nuanced acting and expressive singing of a fine cast adds to that sense of unease. You get a vivid feeling of traumas barely suppressed. "
The Times
