He is an ENO Harewood Artist.
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Tom Rakewell in The Rake's Progress
Gothenburg Symphony Orchestra, 2018
“Tenor William Morgan is completely convincing as the all-consuming 'rake' Tom, whose inner journey this is... When Morgan sings "Love too frequently betrayed", already totally lost in London's whorehouse, it is with real sadness in the voice. A good actor cries real tears and this is the vocal equivalent. His voice contains so much existential melancholy that it seems to include all of us.” (Expressen)
"Ceaselessly enjoyable... Not least William Morgan's touching Tom Rakewell, who is dressed and undressed until he only consists of his violently beating heart. Go and see!" (Dagens Nyheter)
"With William Morgan in the title role, we hear an eloquent tenor. Most impressive is the fact that in all the dynamic physical action, he always keeps his voice." (Borås Tidning)
Above: The Turn of the Screw. Photo credit - Johan Persson
Above: The Rake's Progress. Photo credit - Mats Backer
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)
"William Morgan 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 was 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, 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)
Misael in The Burning Fiery Furnace (Britten)
Scottish Opera / Lammermuir Festival, 2018
Benedict Nelson, William Morgan and Lancelot Nomura were strong – and immaculately balanced – as the three Israelites. (**** The Scotsman)
It is an all-male tale, with tenor William Morgan in especially fine voice...(***** The Herald)
Above: Orpheus in the Underworld. Photo credit - Claire Shovelton
Cervantes in The Queen's Lace Handkerchief (J. Strauss)
Opera Della Luna / Wilton's Music Hall, 2017
"Rises to unusual heights of theatrical brilliance...
"the writer Cervantes – who somehow gets in on the act - is delivered with conspicuous matinee idol ebullience by William Morgan"
(**** The Stage)
Younger Man in Between Worlds (Tansy Davies)
English National Opera / Barbican Theatre, 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)
"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 Day After. Photo credit - Claire Egan
"A fine, thrilling tenor"
Recital at Rhinegold LIVE with the National Opera Studio
Conway Hall, London, 2016 - Click here for the review
"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..."