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Press

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)
— Classical Voice North Carolina
Bass-Baritone Peter Morgan (Moralès) has a steely voice, easily cutting through the chorus and orchestra.
— The Opera Tattler

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.
— Opera News
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.
— Opera Wire

Don Pedro in Songbird with The Glimmerglass Festival - Photo: Karli Cadel 2021

A truly shining and powerful bass-baritone.
— Opera Today
“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.
— Voix des Arts
“Peter Morgan lends nothing less than a royal voice. 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.”
— Olyrix, tout l'Opéra est là (translated)

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 Pitch KC

The Colonel in The Falling and the Rising (Redler) with Opera Carolina - 2022

Peter Morgan as King Balthazar was deliciously resonant.
— The Independent
A phenomenal voice! (King Balthazar)
— Kansas City Studio
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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.
— DC Metro Theatre Arts
A notable scene stealer, Peter Morgan was exceptionally winning as Don Pedro, whom he played with considerable charm.
— Bachtrack
Peter Morgan gave a delightfully fun performance as Don Pedro.
— DC Metro Theatre Arts
King Louis XVI in The Ghosts of Versailles at The Glimmerglass Festival - Pgoto: Karli Cadel

King Louis XVI in The Ghosts of Versailles at The Glimmerglass Festival - Photo Kadel 2019

Daddy in Taking Up Serpents at Rice University

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)
— The Toledo Blade
Swagger onstage and a rich, powerful voice.
— New City Stage
A smooth, resonant, and luscious voice.
— The Juneau Empire

Particular praise is given to Mr. Morgan for his brilliantly touching aria to the coat he selflessly sells for Mimi’s sake.
— The Toledo Blade
“Mr. Morgan as Colline masterfully sang a tender valedictory to his coat with near-Russian solemnity”
— Classical Voice of North Carolina
“Peter Morgan made a strong impression as King Louis XVI, both vocally and dramatically”
(The Ghosts of Versailles with The Glimmerglass Festival)
— Opera War Horses
Colline in La Bohéme with Opera Carolina

Colline in La Bohéme with Opera Carolina - 2020