Press
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“A captivating Alberich!”
“The curse of the ring was memorably delivered by resonant bass-baritone Peter Morgan as the Nibelung dwarf, Alberich.”
“One performer of special interest was Peter Morgan, a bass-baritone with a booming, down-in-a-well voice. Alberich is a dwarf who is expected to be ugly, but Morgan, who portrays him, cuts a figure more akin to a matinee idol.”
Max Detweiler in The Sound of Music with Arizona Opera - 2023
“Bass-Baritone Peter Morgan brought us back down to earth with his moving portrayal of the Colonel, struggling to cope with the death of his wife.
(The Colonel in The Falling and the Rising with Opera Carolina)”
“Bass-Baritone Peter Morgan (Moralès) has a steely voice, cutting through the chorus and orchestra with ease.”
Balthazar in Amahl and the Night Visitors with Lyric Opera of Kansas City - 2021
“Peter Morgan was excellent as Ferrando, delivering a “Di due figli vivea padre beato” with an exciting bass-baritone and a firm sense of character.”
“The Ferrando of Peter Morgan, who initially explains the unfortunate mixup, was the solid, warm bass voice that, in true Verdi fashion, seems to underpin all with compassionate, wonderful singing. ”
Don Pedro in Songbird with The Glimmerglass Festival - Photo: Karli Cadel 2021
“A truly shining and powerful bass-baritone.
(Colline in La bohème with Opera Carolina)”
““Bass-baritone Peter Morgan’s Colline was a man whose affection for his fellow bohemians was palpable, and his good-natured philosophizing was determined but never dull. Morgan was a rare and refreshing Colline who sang his much-maligned ‘farewell to a coat’ in Act Four, ‘Vecchia zimarra,’ beautifully and unaffectedly.”
““Peter Morgan lends nothing less than a royal voice to the production. Which yields to no one as to the seriousness, the breath, the nobility of the line. His presence is royal, like his voice sitting, like a throne.””
Alberich in The Legend of the Ring (Der Ring in Einem Abend) with West Edge Opera - 2024
“Standouts of the cast were Peter Morgan (Max Detweiler), and Alyson Cambridge (Elsa Schrader), who shone throughout the performance, lightheartedly leaning into the comedic elements of their duo. Though Max and Elsa were designed as a contrast to the morality that Maria and Captain von Trapp demonstrate, they were ultimately a source of endearment rather than antagonistic. ”
The Colonel in The Falling and the Rising (Redler) with Opera Carolina - 2022
“Peter Morgan as King Balthazar was deliciously resonant.”
“A phenomenal voice! (King Balthazar) ”
Ferrando in Il Trovatore with The Glimmerglass Festival - Photo Karli Cadel 2021
“Peter Morgan thrived as Ferrando, the chilling military commander. His aria retelling the hunting down of the gypsy was expertly snake-like. ”
“A notable scene stealer, Peter Morgan was exceptionally winning as Don Pedro, whom he played with considerable charm.”
“Peter Morgan gave a delightfully fun performance as Don Pedro. ”
King Louis XVI in The Ghosts of Versailles at The Glimmerglass Festival - Photo Kadel 2019
Daddy in Taking Up Serpents at Rice University - 2019
“Peter Morgan commanded the stage as William Jennings Bryan with a powerful and resonant basso.
(The Ballad of Baby Doe with Toledo Opera)”
“Peter Morgan swaggered onstage, with a rich, powerful voice. (Figaro in Le nozze di Figaro)”
“Bass-Baritone Peter Morgan sang with a smooth, resonant, and luscious voice. (Caronte & Plutone in L’orfeo)”
“Particular praise is given to Mr. Morgan as Colline for his brilliantly touching aria to the coat.”
““Mr. Morgan as Colline masterfully sang a tender valedictory to his coat with beautiful solemnity””
““Peter Morgan made a strong impression as King Louis XVI, both vocally and dramatically”
(The Ghosts of Versailles with The Glimmerglass Festival)”
Colline in La Bohéme with Opera Carolina - 2020