Morgan Smith on Starbuck and Contemporary Opera

Throughout his career, baritone Morgan Smith has portrayed everything from traditional roles (Escamillo in Carmen at Vancouver Opera) to exciting new contemporary work (Lassiter in Craig Bohmler’s upcoming Riders of the Purple Sage at Arizona Opera). In 2010, Smith originated the role of Starbuck in Heggie’s wildly popular Moby-Dick at Dallas Opera. He has subsequently portrayed Starbuck at San Diego Opera, San Francisco Opera, and is currently taking on the role here in Los Angeles.

Morgan Smith as Starbuck in Moby-Dick (2015)

Morgan Smith as Starbuck in Moby-Dick (2015)

Starbuck is an interesting beast to tackle. According to Smith, throughout the opera, Starbuck seems to be the only character within Captain Ahab’s close circle with “a deep, gut feeling that something’s amiss.” This does not prevent the character from sinking into some of the madness that grips Ahab. This makes it even more interesting for Smith to portray Starbuck, because he can really get into the character’s levels. At first, Starbuck is this strong, family man, whose morality is heavily tested to the point where he considers murdering Ahab to spare his men from a whale of a fate. “We see Starbuck pulled away from the person he wants to be, pulled away from his identity,” says Smith.

This role hits close to home for Smith. Starbuck often sings about his wife Mary and his son waiting for him at home. It’s their memory (and the notion of providing for them) that keeps Starbuck going. When Smith originated the role, Starbuck’s connection to family was already personal. All these years later, it’s even more personal as Smith is now a married father of six. He truly relishes his role as a husband and father, something he brings to the role of Starbuck.

Smith has worked with Moby-Dick composer Jake Heggie multiple times and is a huge proponent of contemporary opera. “I love to be challenged as a performer, working with inventive composers, and creating something new,” says Smith. The creation of new work is not only extraordinarily liberating for Smith; he also champions new works, and feels that it’s “important to enlist fresh and relevant subject matter in order to engage younger audiences”

Following tackling Starbuck in Los Angeles, Smith will play the Count in Seattle Opera’s The Marriage of Figaro in January, the title role in Arizona Opera’s Don Giovanni in February, and finish off the season as the four villains in Madison Opera’s The Tales of Hoffmann in April.

For more information about and to purchase tickets to the final 3 performances of Moby-Dick, click here. To find out more about our current season, check out our website.



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