William Morgan is a British opera singer.
He is an ENO Harewood Artist
and a founding member of Barbara Hannigan's Equilibrium project.
He is an ENO Harewood Artist
and a founding member of Barbara Hannigan's Equilibrium project.
His performing work includes both established repertoire and several world premieres.
Engagements over the next year include Peter Quint in The Turn of the Screw for English National Opera, Tom Rakewell in The Rake's Progress with Gothenburg Symphony, and Tamino in The Magic Flute for Scottish Opera.
CURRENT WORK:
Peter Quint in The Turn of the Screw
with English National Opera at The Open Air Theatre
Peter Quint in The Turn of the Screw
with English National Opera at The Open Air Theatre
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PRESS
Peter Quint and Prologue in The Turn of the Screw
English National Opera / The Open Air Theatre 2018 "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) "As the Prologue, William Morgan (Quint in the alternate cast) immediately collars the audience with his lively presence and pliant tenor" (**** The Stage) "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 composer’s spirit must have been commanding the cast and orchestra at Regent’s Park Theatre on Tuesday evening as their performance encompassed the fear, uncertainty and discomfort originally intended by Myfanwy Piper’s chilling libretto... " (***** The Upcoming) Phaeton in The Day After - Jonathan Dove English National Opera, May 2017 “A parable with contemporary resonance... Phaeton’s disastrous ride [provides] an obvious visual and musical climax... In writing that veers in the direction of Heldentenor demands, Morgan is consistently bold and bracing.” (**** The Guardian) “Emotionally compelling” (**** The Stage) Witnessing the raw energy and physicality of every singer close up, especially as they united to “heave” Phaeton’s fiery chariot towards the sun, was to appreciate their formidable skills anew. An assured cast was led by tenor William Morgan (**** The Observer) Johann Strauss II - The Queen's Lace Handkerchief Opera Della Luna, Wilton's Music Hall, August 2017 "Rises to unusual heights of theatrical brilliance... "the writer Cervantes – who somehow gets in on the act and is delivered with conspicuous matinee idol ebullience by William Morgan" (**** The Stage) Tansy Davies's Between Worlds ENO / Barbican Theatre, April 2015 "The psychological truth of this inexorable drama comes across with awesome power" (***** The Independent) "Deborah Warner’s production is taut and finely acted ... William Morgan is instantly appealing as the Younger Man who is afraid of heights" (***** Bachtrack) "William Morgan played her vulnerable son, negotiating some arioso writing in the highest tenor tessitura... Between Worlds is a wonderful, haunting and profoundly moving piece of work." (***** Opera Brittania) "...a Younger Man, afraid of heights, whose fears the Janitor tries to calm – a role sensitively played by tenor William Morgan" (The Stage) "...the Younger Man, a person so out of his depth, so high up and with such a fear of heights. That role was taken by the tenor William Morgan, blessed with a beautiful voice and capable of some lovely phrasing." (Seen and Heard International) "The singing was very strong ... As the group of four representing the 2,700 who perished, Rhian Lois, Clare Presland, William Morgan and Phillip Rhodes vividly acted out their abandonment by modern life, and their acceptance of the inevitable is accomplished with considerable tact" (Classical Source) |
Above: the fall of Phaeton in The Day After (ENO, 2017)
Photo credit: Claire Egan
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