Born in Sydney, Morgan Pearse is widely recognised as one of the most exciting and talented baritones of his generation.
He made his major professional début with English National Opera in 2015/16 singing Figaro in The Barber of Seville and returned there to sing the role again at the beginning of the 2017/18 season. Since then he has worked at the highest level with engagements including concerts with the Moscow Philharmonic Orchestra and Musica Viva orchestras in Russia and the Netherlands Radio Philharmonic at the Concertgebouw, solo recitals at the Wigmore Hall with Simon Lepper, as well as performances of roles with Opera New Zealand and the Badisches Staatstheater. Other recent and future engagements include the title role in the Verbier Festival Academy production of Don Giovanni, Valens in Theodora and Araspe in Tolomeo for the Karlsruhe Händelfestpiele, the title role in Le nozze di Figaro and Papageno / Die Zauberflöte for the Badisches Staatstheater, covering the title role in Billy Budd for the Bolshoi Theatre, Sid in Albert Herring for the Buxton Festival, Escamillio / Carmen for South Australia Opera, Nero in Kaiser’s Octavia and Almiro / Idalma both for the Innsbruck Festival of Early Music, Belcore / L’Elisir d’Amore, Figaro / Barbiere for New Zealand Opera and the State Opera of South Australia, Farasmene / Radamisto for Philharmonia Baroque and Figaro / Le nozze di Figaro in a new production for the Opernhaus Zurich.
Equally at home in concert repertoire, Morgan’s concert engagements have included the first performance of Schubert’s Winterreise in Sydney in 20 years, Fauré Requiem and Handel Messiah in the Sydney Opera House, performances of Britten’s War Requiem throughout Poland and Mozart Requiem with the English Chamber Orchestra. He has appeared at the Wigmore Hall, Purcell Room, Melbourne Recital Hall, Hamer Hall, Copenhagen’s Konserthuset, Sydney Opera House, St John’s Smith Square, Royal Festival Hall and Queen Elizabeth Hall, as well as the Edinburgh Fringe, Gower and Newbury Spring Festivals. Recent and future concert engagements include a solo recital at the Wigmore Hall, concerts with the Moscow Musica Viva Chamber Orchestra, RTVE Madrid, Real Orquesta Sinfonica de Sevillia, The Sixteen, Huddersfield Choral Society, Netherlands Radio Philharmonic Orchestra, Royal Philharmonic Orchestra, concert performances of Masetto / Don Giovanni with the Auckland Philharmonia and the Russian National Orchestra, concerts with the Royal Northern Sinfonia, Royal Philharmonic Orchestra, King’s College Choir Cambridge, the Cheltenham Bach Choir, the Bournemouth Symphony Orchestra at the Newbury Festival, the Creation with the Orchestra of the Opernhaus Zurich, the B minor mass with the Hallé Orchestra, performances of the War Requiem with the Israel Philharmonic, Bach cantatas with the Gabrieli Consort and concerts and recordings with the Academy of Ancient Music.
A former member of the renowned Houston Grand Opera studio programme his roles there included , Papageno, Yamadori / Madame Butterfly, Anthony/ Sweeney Todd as well as covering Guglielmo / Così fan Tutte and singing scenes as Malatesta / Don Pasquale. He went on to perform the role of Figaro in The Ghosts of Versailles for Wolf Trap Opera.
Morgan has also performed the title role in Owen Wingrave for Sydney Chamber Opera, Pompeo/ Benvenuto Cellini for English National Opera, Minos / Arianna in Creta and the title role in Imeneo for the London Handel Festival, Apollo /L’Orfeo in an Australian national tour of the Australian Brandenburg Orchestra, Principal Baritone in Dioclesian with Pinchgut Opera and the world premiere of Underground Man / Notes from Underground with Sydney Chamber Opera.
Morgan was the winner of the prestigious Cesti Competition in 2016, won the prestigious Lies Askonas prize in 2014 and was the gold medallist in the Royal Overseas League’s Music Competition in 2013. He has also won the John Warner Recital Competition, the RCM’s Schumann Competition, is a Samling Artist, an awardee from the Australian Music Foundation, the Tate Foundation, the Cook Society and the Josephine Baker Trust.
He is extremely grateful for the continual support of the Hon. Ros Kelly, Old Sydneians’ Union, John Hosier Trust, Opera and Arts Support Group, Ian Potter Cultural Trust and Sir Robert Askin Travelling Operatic Scholarship.