©
Bass
Morris Robinson
Represented by
Alex Grigorev
alex@tact4art.com
+31 647 900 647
Samuel Levine
sam@tact4art.com
+49 179 4114 598
Nadia Antonova
nadia@tact4art.com
Representation
ARTIST OVERVIEW - ARTIST PROFILE
Artist Profile
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Biography Highlights
Upcoming
Return to the Metropolitan Opera as Ramfis and Il Re in Aida, Sparafucile in Rigoletto at Cincinnati Opera, Hagen in Götterdämmerung at the Atlanta Opera, Il Grande Inquisitore in Don Carlo at Dallas Opera, Mozart Requiem with the Boston Symphony Orchestra
Recent
Hagen in concert with Andres Nielsons and the Boston Symphony Orchestra, Timur in Turandot at Los Angeles Opera, Ramfis and Il Re in Aida, as well as Sarastro in Die Zauberflöte at the Metropolitan Opera, Ferrando in Il Trovatore at Houston Grand Opera, König Marke in Tristan und Isolde at Seattle Opera and Cincinnati Opera, Verdi Requiem with James Conlon the Baltimore Symphony, Echoes of America Concert with the National Symphony Orchestra
Previous
Over 130 performances at the Metropolitan Opera since 2002, including Sarastro in Die Zauberflöte, Ferrando, Ramfis and Il Re, and New Productions of Salome and Les Troyens; Zaccaria in Nabucco at Los Angeles Opera and Opera Philadelphia; Grand Inquisitore in Los Angeles, Dallas, Cincinnati, and Philadelphia; Ferrando in Cincinnati and Los Angeles; Ramfis in Los Angeles, Detroit, Atlanta, Cincinnati, and Washington National Opera as well as the Aspen Music Festival and the Boston and Chicago Symphony Orchestras; Hagen at Lyric Opera of Chicago and Detroit Opera; Fasolt in Das Rheingold in Los Angeles and with the New York Philharmonic, Los Angeles Philharmonic, and Boston Symphony; Il Commendatore in Don Giovanni in Dallas, Houston, with Washington National Opera, and Boston and Chicago Symphony Orchestras; Sarastro with Opera Australia, in Los Angeles, Dallas, and Houston, as well as the Baltimore and Chicago Symphony Orchestras; Joe in Show Boat at San Francisco Opera, Chicago, Dallas, and Houston; Porgy in Porgy and Bess at Teatro alla Scala Milano, Wiener Volksoper, Cincinnati, and at the Hamburg Elbphilharmonie.
Awards
2022 Grammy Award for Mahler's Symphony No. 8 under Gustavo Dudamel; Artistic Advisor at Cincinnati Opera; Artistic Advisory Council at the Atlanta Opera; Doctor of Fine Arts (Hon. Causa) at The Citadel; Artist-in-Residence at Harvard University; Winner of the George and Nora London Foundation Competition; Winner of Richard Tucker Competition.
Portraits
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Verdi - Requiem
Verdi - Requiem
Florida Grand Opera - DON GIOVANNI - The Don's final scene
Florida Grand Opera - DON GIOVANNI - The Don's final scene
Reviews & Press
Metropolitan Opera - Il trovatore - Ferrando
Tall and burly, he dominates the stage as Ferrando, and his firm, opulent tone seems to pour forth from another world. He delivers the captain’s rhythmically elaborate music with more care than most, and while he does sing heavily anglicized Italian, the vocal majesty and theatrical panache he brings to the opera’s opening ghost story—and the fleet whispers of terror it in turn draws from the Met’s superb chorus—get the show off to a thrilling start.
- Marion Lignana Rosenberg , The Classical Review
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Morris Robinson: The Accidental Opera Singer
You feel Morris Robinson’s voice before you hear it. His voice rumbles in a register tailor-made for the great operatic roles. But, this son of a Baptist minister, born in Alabama and an all-American football player at the Citadel, didn’t set foot on a stage until he was 30 years old.
- Bruce Britt , Cadillac Magazine
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The Black Opera Project
The launch of The Black Opera Project marks the fruition of dreams long held by Black artists like me. While I was singing the title role in Porgy and Bess in 2019, Cincinnati Opera leaders invited my fellow cast members and me into a conversation about opera’s future. My colleagues and I expressed concern that there were no operas that truly represented the African American culture in a positive, modern, realistic, and contemporaneously relatable way. I asked, ‘When is there going to be an opera that has the same impact on the operatic stage that the movie Black Panther had on the big screen?’ We knew there was a critical need to create and develop works that represented the vastness and beauty of the African American experience. We also felt that these new works needed to be composed, written, directed, and conducted by Black people. Cincinnati Opera bought into this vision, fully dedicating themselves to bringing the Black Opera Project to life. I’m excited about what this initiative means both for people of color and for opera fans everywhere who’ll get a chance to see what Black joy looks like on the opera stage. We’re making history and changing our art form for the better.
