William Morgan is a British opera singer.
His work includes Tom Rakewell with Gothenburg Symphony Orchestra (video available here), Peter Quint for English National Opera, Tamino for Scottish Opera, Ferrando for Longborough Festival, and an appearance at the BBC Proms in Serenade to Music. At ENO he also performed in Birtwistle's The Mask of Orpheus, and several UK and world premieres.
William is an English National Opera Harewood Artist.
NEWS
**** The Times for our production of The Gondoliers at Scottish Opera! See the full review here
"Quite simply, this production shows how good a Gilbert and Sullivan opera can be....
The singers are super, too. William Morgan and Mark Nathan lead the pack"
"Quite simply, this production shows how good a Gilbert and Sullivan opera can be....
The singers are super, too. William Morgan and Mark Nathan lead the pack"
THE GONDOLIERS - Scottish Opera
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The Gondoliers
Photo credit: James Glossop |
REVIEWS
Ferrando in Cosi fan tutte
Longborough Festival Opera 2021
"One of the best production of Cosi I have seen" Classical Source (5*)
"Radically, rewardingly reinvented" The Stage (4*)
Photo credit: Matthew Williams-Ellis
Prunier in La Rondine, West Green House Opera 2021
"William Morgan brings genuine presence to the role of Prunier...
This cast and production make us care a great deal" MusicOMH (5*)
"William Morgan brings genuine presence to the role of Prunier...
This cast and production make us care a great deal" MusicOMH (5*)
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Tom Rakewell in The Rake's Progress
Gothenburg Symphony Orchestra “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 (...) 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) "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
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Above: The Rake's Progress. Photo credit - Mats Backer
Don Ottavio in Don Giovanni
Longborough Festival "Don Ottavio was not the usual wimp, but in William Morgan’s assumption was a virile leader of the pack hunting the Don." (**** Bachtrack.com) Peter Quint in The Turn of the Screw English National Opera / The Open Air Theatre "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..." (**** 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) |
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Phaeton in The Day After (Jonathan Dove)
English National Opera “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) 
Above: Orpheus in the Underworld. Photo credit - Claire Shovelton
"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
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 Above: William was featured in the video project "50 years of Opera" produced to mark ENO's 50th anniversary at the London Coliseum.
See all the featured artists here! Cervantes in The Queen's Lace Handkerchief (J. Strauss) Opera Della Luna @ Wilton's Music Hall "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) Misael in The Burning Fiery Furnace (Britten) Scottish Opera / Lammermuir Festival 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) "A fine, thrilling tenor" - Planet Hugill William Morgan in recital at Conway Hall, London |
