Press
As Papageno in Peter Brook’s Molière Award-winning Une Flûte Enchantée
“But above all is the great presence, warm baritone voice, immense humanity, never ridiculous (thank you Brook!) of the Papageno of Matthew Morris. One would truly jump at the chance to listen to him in an opera or a musical, for his style both elegant and restrained, his voice, well placed, very dominating, his clear emission, these are his great strengths: he is applauded at the opening of the curtain, and he is the only one. He is also the only one to dominate, or simply to have the skill of an actor...”
“Matthew Morris is exceptional and turns in a hilarious Papageno.”
“And now a joyous, slightly wacky bird-catcher, Papageno, camped with lots of ‘joie de vivre’, a touching natural spontaneity and a bit of the naiveté of a clown, an excellent Matthew Morris ...”
“Most striking was the ingenious Papageno of Matthew Morris”
As Oscar in Frank London & Elise Thoron’s Hatuey
“The cast, many with opera backgrounds that facilitated the shifts between the different languages being used, was splendid in pulling the piece together musically. Standouts included Matthew Patrick Morris as Oscar (modeled after Asher Penn), with his appealingly sweet, light tenor.”
As Le Mari in Poulenc's Les Mamelles de Tirésias at the Israeli Vocal Arts Institute
"Matthew Patrick Morris in the role of the husband was sometimes amused, sometimes surly - and always energetic. His voice was strong and fit well with Tirésias' voice in a beautiful final duet."
– Music4awhile
As Le Mari in Poulenc’s Les Mamelles de Tirésias at the Aldeburgh Music Festival
“…for this current staging two very talented American-born singers took the bull by the horns - soprano Ariadne Greif and baritone Matthew Morris. They excelled (and looked very comfortable) in their respective roles.
Greif radiated a rich and warm soprano voice, strong and accurate, while her stage presence was mesmerising to say the least. She put in a thoroughly commanding and effortless performance that thrilled a packed house while Morris equally matched her vocal skills and stage prowess in every conceivable way.”
In recital at the Tanglewood Music Festival
“If I single out Matthew Morris, the baritone who took on the Berlin songs and Burnett’s “My Melancholy Baby,” it is not because he was any better than his peers — all were outstanding — but because his delivery of the songs was so sophisticated and polished that it conveyed a highly amusing archness, which was more intended to entertain than to make fun of the old favorites. Mr. Morris also poured a bit of Noël Coward and German cabaret into the American cocktail. It will be interesting to see what he does with his talents in the future.”
As Apollo in Santa Fe Opera’s Alcèste with Christine Brewer
“impressive”
As Claude in Gluck's L'Arbre Enchanté
“Morris’ Claude sang fervently and lyrically.”
As George Gibbs in Aspen Opera Center’s Our Town
“George Gibbs was winningly sung by Matthew Morris.”
As John in the new musical Back in the Day by Lance Horne at the Cape Rep Theatre
“Matthew Morris’ voice is so beautiful that you are left wanting to hear more from him.”
In Concert in Greding, Germany
“Heartfelt with perfect intonation”