摩根‧史密斯 Morgan Smith

男中音

角色中真正的明星當屬摩根‧史密斯，他的大副史塔巴克一角結合了輝煌的演唱、道德的權威，以及深刻的同理心。
-Joshua Kosman, SFGate

摩根‧史密斯的夏普萊斯（《蝴蝶夫人》）用最頂尖的聲音贏得了大獎。
-Avant-Scene Opel.

開幕夜的出眾表演歸功於那對貴族夫婦，摩根‧史密斯帶著溫暖嗓音的阿瑪維瓦伯爵相當討人喜歡，顯然仍愛著妻子，卻對無法控制其四周的混亂感到沮䘮。
-Bachtrak

美國男中音摩根‧史密斯2017/18樂季始於於肯薩斯城歌劇院首次演出《尤金‧奧涅金》，並將再度重回肯薩斯城演出《越過死亡線》的約瑟夫‧德-羅徹一角，其後又將與肯薩斯城交響樂團演出韓德爾的《彌賽亞》。

過往樂季中，史密斯的重要演出經歷包括於肯塔基歌劇院演出《蝴蝶夫人》的夏普萊斯，並持續在達拉斯歌劇院登臺，擁抱著他在2010年與之合作傑克‧亨吉的歌劇《白鯨記》時演出大副史塔巴克時獲得的高度讚譽，之前他也在聖地牙哥、舊金山，以及去年在洛杉磯歌劇院演出此作。回到陸地上後，史密斯的足跡踏上了萊比錫歌劇院，演出了數次的《波西米亞人》，他也在亞歷桑納歌劇院演出了歌劇《荒野情天》的世界首演，演出正義英雄拉薩特一角，其亦與聖安東尼奧交響樂團在音樂會中合作演出。2017年的其他重點活動也包括了在加拿大的阿瓦隆歌劇院演出《越過死亡線》的約瑟夫‧德羅徹，以及在奧瑞岡的巴哈藝術節演出貝多芬的《莊嚴彌撒》。

過去的重要演出經歷包括在蒙特婁歌劇院演出《蝴蝶夫人》的夏普萊斯、與馬庫斯‧史坦茲指揮的巴爾的摩交響樂團演出《唐喬望尼》選粹，他也在亞歷桑納歌劇院演出了完整製作，在西雅圖歌劇院演出《費加洛婚禮》中的伯爵，並在麥迪遜歌劇院演出《霍夫曼的故事》，獲得熱烈迴響。

其他的成功演出資歷包括了在溫哥華歌劇院及匹茲堡歌劇院演出《卡門》的埃斯卡米諾，與西雅圖交響樂團合作的貝多芬第九號交響曲，並赴聖地牙哥歌劇院飾演《波西米亞人》的馬切洛，他也加入了舊金山戴維斯廳的同志男聲合唱團，演出傑克‧亨吉的《觀看或觸碰》，他也於奧斯丁歌劇院演出了《唐喬望尼》，以及辛辛那提歌劇院演出瑞奇·伊恩·戈登的《晨星》，均為他帶來了不凡的聲譽。

他也於日前在佛羅里達大劇院演出了《悲悼艾蕾特克拉》的布蘭特，大衛‧龐特尼在休士頓大劇院及林肯中心演出的製作《過客》，以及在達拉斯歌劇院演出《死城》，沃斯堡歌劇院演出凱文‧布斯講述一戰故事的成功作品《平安夜》中的歐德貝赫中尉。

摩根‧史密斯的歐洲首次登臺在2009/10樂季，於柏林國立歌劇院演出《波西米亞人》的畫家馬切洛，他也曾在克羅拉多歌劇院演出此角，以及在萊比錫歌劇院演出《塞爾維亞理髮師》中的費加洛一角，以及《魔笛》中的帕帕基諾、《三橘之戀》中的首相、《輕觸愛神》的沙維瑞，另外，還包括了在萊比錫歌劇院演出的《馬哈貢尼城興衰史》，以及《女人皆如此》中的古列爾摩。

畢業於哥倫比亞大學及紐約曼內斯音樂院，他在2001-2003年成為西雅圖歌劇院的青年藝術家，並在其職業生涯中首度演出了《比利‧巴德》、《唐喬望尼》、《丑角》、《清教徒》、《悲悼艾蕾特克拉》。聽眾們也在沃斯堡歌劇院欣賞他演出《卡門》的埃斯卡米諾、在洛杉磯歌劇院演出《卡門》的莫拉雷與祖尼伽，以及在波特蘭歌劇院演出的《灰姑娘》的隨從丹迪尼。

在當代劇目中，史密斯亦有盛名，他於湯瑪斯·帕薩迪里的《瑪哥夫人》於沃斯堡的世界首演中中形塑了史泰納德的角色，並由Albany發行了錄音。他也支援了傑拉德·芬利，擔綱由舊金山歌劇院委託創作，約翰‧亞當斯的《原子彈之父》世界首演的羅伯特·奧本海默一角。也與哈特福交響樂團首演理查‧卡明的《希波呂托斯的面向》，並且參與了庫許納與桑達克改編捷克作曲家柯瑞沙的兒童歌劇《大黃蜂》的錄音，由Naxos發行。其他演出的角色還包括了《愛情靈藥》的貝爾科雷、《越過死亡線》的約瑟夫‧德羅徹、《比利‧巴德》、《唐帕斯夸萊》的醫生馬拉泰斯塔、《唐懷瑟》的沃爾夫拉姆、《採珠者》的祖爾加，以及《唐卡羅》的羅德利哥。

在音樂會的舞臺上，史密斯與達拉斯交響樂團首次合作了巴哈的《馬太受難曲》，以及與聖安東尼奧交響樂團完成作曲家Detlef GLanert改編自布拉姆斯作品的《四首前奏與嚴肅歌曲》北美首演。其他的音樂會曲目尚包括了貝多芬第九號交響曲、布拉姆斯、莫札特、佛瑞、杜魯菲的《安魂曲》、莫札特、佛漢‧威廉士的c小調彌撒，巴哈的b小調彌撒，以及許多清唱劇，《聖誕神劇》、韓德爾的《彌賽亞》，海頓《創世紀》、《尼爾遜彌撒曲》等。

與其同臺合作的指揮包括了Jaap van Zweden, Patrick Summers, Donald Runnicles, Gerard Schwarz, Eduardo Mueller, ULf Schirmer, Sebastian Lang-Lessing, George Manahan, Richard BuckLey, Vyekeslay Sutej, Christopher Larkin, Joseph Colaneri, Richard Cummings, Jack EverLy, William Lacey, Dean Williamson以及 Ken Masur。

“The real star of the cast was baritone Morgan Smith, whose Starbuck joined vocal splendor, moral authority and deep empathy in a phenomenal combination.”
-Joshua Kosman, SFGate

”Morgan Smith’s Sharpless won the prize for best voice.”
-Avant-Scène Opér

”The outstanding performances of the opening-night cast came from the aristo couple. Morgan Smith's warm-voiced Almaviva was intensely likeable and obviously still in love with his wife but frustrated by his inability to control the chaos around him...”
-Bachtrak

American baritone Morgan Smith, begins the 2017-18 season at Lyric Opera Kansas City in his title role debut of Eugene Onegin. He returns to the role of Joseph de Rocher Dead Man Walking at Kentucky Opera followed by performances of Handel Messiah with Kansas City Symphony.

Highlights of last season include returning to the role of Sharpless Madama Butterfly at Kentucky Opera.  He continued to Dallas Opera to revive his highly-lauded portrayal of the First Mate Starbuck in Jake Heggie’s Moby-Dick, a role he sang in the original production in Dallas in 2010, and also at San Diego Opera, San Francisco Opera and last season, at Los Angeles Opera. Back on dry land, Mr. Smith traveled to Oper Leipzig for a repeat appearance as Marcello La bohème.  The artist joined Arizona Opera to inaugurate the role of vigilante hero John Lassiter in the world wide premiere of Riders of the Purple Sage and appeared in concert with San Antonio Symphony. Other engagements in 2017 included Joseph de Rocher Dead Man Walking at Opera on the Avalon and Beethoven Missa Solemnis at the Oregon Bach Festival.

Past highlights include Sharpless Madama Butterfly at Opèra de Montrèal; Baltimore Symphony in the title role of Don Giovanni highlights with Markus Stenz. He also appeared in the role in a fully staged production at Arizona Opera. At Seattle Opera he played the Count Le nozze di Figaro; and made his debut as the Four Villains Les contes d’Hoffmann at Madison Opera, a resounding critical success. 

Other past successes include the role of Escamillo Carmen at Vancouver Opera which he also sang at Pittsburgh Opera; he joined Seattle Symphony for Beethoven’s Ninth Symphony and travelled to San Diego Opera to sing the role of Marcello La bohème before returning to San Francisco to join the Gay Men’s Chorus at Davies Hall to revive the role of Manfred in Jake Heggie’s For a Look or a Touch, a role he previously inaugurated for the world premiere of the piece. He sang the title role Don Giovanni at Austin’s Lyric Opera, and the role of Aaron in Ricky Ian Gordon’s Morning Star at Cincinnati Opera for which he won outstanding reviews.

Morgan previously made his role and house debut as Adam Brandt Mourning becomes Electra at Florida Grand Opera; Tadeusz The Passenger in the US premiere of David Pountney’s production at Houston Grand Opera and at Lincoln Centre; Fritz Die Tote Stadt at Dallas Opera, and Lt. Audebert Silent Night in Fort Worth Opera’s presentation of Kevin Puts’s highly successful work about the First World War. 

Morgan Smith made his European debut in the Berlin Staatsoper in 2009-10 as Marcello (a role he also sang at Opera Colorado), and at Oper Leipzig as Figaro Il Barbiere di Siviglia, Papageno Die Zauberflote, Leandre The Love for Three Oranges, and Whitelaw Savory One Touch of Venus. Other notable appearances include his three-season tenure at Oper Leipzig for the additional roles of Billy The Rise and Fall of the city of Mahagonny, and Guglielmo Cosi fan tutte.

A graduate of Columbia College and Mannes College of Music in New York City, he became a Seattle Opera young artist 2001-2003 and made his professional debut as Donald Billy Budd; Don Giovanni, Silvio I Pagliacci, Riccardo I Puritani, and Peter Niles Mourning becomes Electra all followed. Audiences heard him as Escamillo at Fort Worth Opera and Morales and Zuniga at Los Angeles Opera; and as Dandini La Cenerentola at Portland Opera.

Renowned in contemporary repertoire, Morgan Smith created the role of Ted Steinert in Thomas Pasatieri’s Frau Margot in the world premiere at Fort Worth Opera and on the recording (Albany Records); he covered Gerald Finley as Robert Oppenheimer in the world premiere of John Adams' Dr. Atomic, commissioned by San Francisco Opera; he sang the world premiere of Richard Cumming’s Aspects of Hippolytus with Hartford Symphony, and created the title role in the Tony Kushner/Maurice Sendak adaptation of Hans Krasa's children's opera, Brundibar (recorded by NAXOS). Other roles in the artist’s repertoire, including those in preparation, include Belcore L'elisir d'amore, Joseph DeRocher Dead Man Walking, Malatesta Don Pasquale, title role Billy Budd, Wolfram Tannhaueser, Zurga Les Pecheurs de Perles, and Rodrigo Don Carlo.

A regular on the concert stage, Mr Smith made his Dallas Symphony debut in Bach's St. Matthew Passion, and debuted with the San Antonio Symphony for the North American premiere of Vier Präludien und Ernste Gesänge, Detlef Glanert's orchestral adaptation of the beloved cycle by Brahms. Other concert repertoire includes Beethoven's Ninth Symphony, the Requiems of Brahms, Faure, Mozart and Durufle; the Mass in C Minor of Mozart and of Vaughan Williams, Bach’s B Minor Mass and numerous Cantatas, Weihnachts Oratorium, Handel's Messiah and L'allegro Spirituoso, Haydn's The Creation and Lord Nelson Mass. 

Conductors who have joined him on the podium include Jaap van Zweden, Patrick Summers, Donald Runnicles, Gerard Schwarz, Eduardo Mueller,  Ulf Schirmer, Sebastian Lang-Lessing, George Manahan, Richard Buckley, Vyekeslav Sutej, Christopher Larkin, Joseph Colaneri, Richard Cummings, Jack Everly, William Lacey, Dean Williamson and Ken Masur.