He is an ENO Harewood Artist
and a founding member of Barbara Hannigan’s Equilibrium project.
Engagements this season 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.
For more information, please see the menu above (top right for mobile devices).
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)
Misael in The Burning Fiery Furnace
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)
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)
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)
"A fine, thrilling tenor"
Recital at Rhinegold LIVE with the National Opera Studio
Conway Hall, London, March 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..."
Above: Quint in The Turn of the Screw (ENO / Regents Park Theatre 2018)
Photo credit: Johan Persson
Below: Phaeton in The Day After (ENO 2017)
Photo credit: Claire Egan