Vocalist - Baritone
Acclaim
 
BLO Brings the Lyric to Seville

"As the Barber himself, Figaro, baritone Matthew Worth, came across with nimble, milky tone...infusing the role with an almost boyish excitement about everything he and the others were doing on stage." 

Tom Schnauber, The Boston Musical Intelligencer
'As One’ a luminous, deeply human transgender story

"Worth delivered a performance that was deeply felt, effectively externalizing the inner torment of Hannah before she makes the transition and communicating with a firm, expressive baritone."

Janelle Gelfand, Cincinnati Business Courier
Under Runnicles’ baton, ASO and Chorus take flight on Debussy, Jolivet and Fauré

"Baritone Matthew Worth, who was heard as Lieutenant Audebert in the Atlanta Opera’s production of Kevin Puts’ Silent Night this past November, displayed a lucid voice with a mildly reed-colored timbre in his solos in the 'Libera me' and the 'Hostias' section of the 'Offertory.'"

Mark Gresham, ArtsAtl
Silent Night - Atlanta Opera

"Accompanied by a gentle ostinato, Worth ... accomplished the most memorable moment of the evening with a sumptuous vocal line that throbbed with remorse and memory."

Stephanie Adrian, Opera News
Naga - Beth Morrison Projects

"Huge projections of Prestini’s character Ming (White Snake’s abandoned son) and Wheeler’s Monk (essentially the same figure in the myth, who loses a wife and a much-awaited newborn to his mother’s legacy) benefitted from the handsome faces of, respectively, Christopher Burchett (dramatically committed but often shouty) and Matthew Worth (who has become an excellent, even-voiced interpreter of contemporary music). But they overwhelmed the stage needlessly. Worth largely carried 'Naga' ..."

David Shengold, Gay City News
Enchanted ‘Ouroboros’ trilogy explores eternal mysteries

"Matthew Worth’s struggle with an illness (announced from the stage) did not detract from his singing or his portrayal of a conflicted Monk in 'Naga.'"

Zoë Madonna, Boston Globe
JFK by David T. Little/Royce Vavrek Premieres in Fort Worth

"Matthew Worth ... commands his role as John Kennedy."

Jarrett Goodchild, I Care If You Listen
JFK: A New Opera in Ft. Worth

"Matthew Worth sang like a dream, the state of JFK during much of the opera."

Christopher Purdy, WOSU Public Radio
JFK - Fort Worth Opera 4/23/16

"In appearance and voice, Matthew Worth, as JFK, has the All-American charisma and power you expect from a twentieth-century president."

Henry Stewart, Opera News
Hallucination, Assassination and Orchestration: JFK the Opera Comes to Fort Worth

"Baritone Matthew Worth effectively displayed the weaknesses and flip-switch charisma of the president."

Wayne Lee Gay, Dallas Observer
‘JFK’ Review: On the Eve of Assassination

"Matthew Worth was a handsome, beleaguered Jack, trying to live up to everyone’s expectations."

Heidi Waleson, Wall Street Journal
Fort Worth Opera premieres vivid, overdone “JFK”

"Matthew Worth ... commands a crisply handsome baritone."

Scott Cantrell, Dallas Morning News
OPERA BIRMINGHAM: Gordon’s ‘Orpheus,’ ‘Green Sneakers’

"Baritone Matthew Worth sang the solo role with fervency, vividly projecting various aspects of grief as the inevitable nears. Like a good performance of 'La Bohème' or 'La Traviata,' this was as poignant as opera gets."

Michael Huebner, ArtsBHAM
Peabody-Essex hosts ‘Song Cycle’ with Matthew Aucoin

“[Victoria] Crutchfield gave baritone Matthew Worth a young foil … and a direct concept — dress-up and child’s play — resulting in fluent entertainment. The performance was superb, pianist Stephen Scarlato elegantly setting up Worth’s suave, buoyant, beautiful singing.”

Matthew Guerrieri, Boston Globe
Minnesota Opera offers compelling premiere based on classic cold war thriller

“Matthew Worth sings Raymond, the time bomb who has been turned into an assassin. Worth’s baritone conveys the tightly wound, damaged mind of the ex-soldier yet was also plaintive and lyrical when recalling his youthful meeting with his bride-to-be, Jocelyn.”

Richard Boyum, Classical Review
A Brainwashed Baritone: Review of ‘The Manchurian Candidate’ at Minnesota Opera

“Matthew Worth inspired sympathy as the stiff, unhappy Raymond, coming to life in his fragmented breakdown aria (‘Lies. Lies.’).”

Heidi Waleson, Wall Street Journal
Review: ‘The Manchurian Candidate,’ Eagerly Awaited, Has Premiere In St. Paul

“The sergeant, Raymond Shaw, [is] the vocally muscular and appealing baritone Matthew Worth.”

Anthony Tommasini, New York Times
The Manchurian Candidate – Minnesota Opera

“Matthew Worth as assassin Raymond Shaw [is] powerful of voice throughout his expansive range.”

Rob Hubbard, Pioneer Press
CSO's 'Carmina Burana' is joyous, entertaining

“Baritone Matthew Worth was a communicative storyteller in his ‘Springtime’ song, ‘Omnia Sol temperat’ (All things are tempered) and other solos…. His exuberant characterization of the Abbot, punctuated by raucous percussion, made the audience laugh out loud.”

Janelle Gelfand, Cincinnati Enquirer
Silent Night: Kevin Puts's opera gets an impassioned performance in its European premiere

“The Wexford cast, [which includes] Matthew Worth’s Lieut Audebert, give forcefully impassioned performances.”

Michael Dervan, Irish Times
Wexford Festival Opera, Silent Night, National Opera House

“Wexford’s mostly male cast and chorus splendidly serve composer and librettist, with Puts’ music resting on the voices with relative ease and delivered with excellent diction. While it may seem invidious to single out Philip Horst, Gavan Ring and Matthew Worth, their pivotal lieutenant roles place them in signal positions.”

Pat O'Kelly, Irish Independent
Silent Night, Wexford Festival Opera, review: 'real conviction'

“Matthew Worth is expressive as Lieutenant Audebert, longing to meet his newly born son.”

John Allison, The Telegraph (UK)
ORPHÉE - Pittsburgh Opera

“Matthew Worth enacted the title part to the hilt. Tall, rangy and virile, he emerged fully worthy of his adoring fans. His light, Broadway-ish baritone effectively molded the declamatory lines in clear, understandable French, blossoming into Glass’s occasional expansive melodic fragments.”

Robert Croan, Opera News
Splendid 'Trouble in Tahiti' adds luster to Festival del Sole season

“Sam’s aria at the gym [was] sung with great aplomb by baritone Matthew Worth. Worth is an exceptional singer with polished tone, excellent articulation and an innate sense for Bernstein’s vigorous style.”

Jim Koelker, Napa Valley Register
Moby-Dick - Washington National Opera

“Matthew Worth used his warm, supple baritone to keen effect as Starbuck, the conscience of the Pequod. His vocalism proved especially rich and telling in the scene when, in an impressive aria that contains an intriguing hint of ‘E lucevan le stelle,’ Starbuck thinks of his far off family and considers murdering Ahab.”

Tim Smith, Opera News
Review: Greek myth morphs to stage in Pittsburgh Opera's production of 'Orphee'

“Baritone Matthew Worth gave a wonderfully nuanced portrayal of the narcissistic Orphee.”

Mark Kanny, Pittsburgh Tribune
'Orphee' an opera worth repeating

“Baritone Matthew Worth gave a strong performance in the title role. His attractive, dark timbre was bolstered by a full, consistent vibrato.”

Elizabeth Bloom, Pittsburgh Post-Gazette
WNO's spectacular, epic "Moby-Dick" a smash hit in debut
“As first mate Starbuck … baritone Matthew Worth functions as the lone voice of reason as he attempts to temper Ahab’s—and the crew’s—headlong pursuit of disaster. Although the opera doesn’t make it clear, Melville’s Starbuck is a practicing Quaker, a practical and empathetic man driven by equal doses of piety, morality and pacifism. All of this pits him, albeit reluctantly, against the captain, while at the same making him feel compelled to save the crew from Ahab’s excess. All of this makes Starbuck something of a stiff character, but he’s the necessary opposing force in the plot. Mr. Worth’s bell clear baritone instrument is somehow able to articulate his characters complexity as his Starbuck wars within himself in a desperate attempt to carry out his sworn duty to his captain while remaining true to himself and his men. It’s a marvelous, upstanding performance.”
Terry Ponick, Washington Times
Opera's MOBY-DICK at the Kennedy Center is Stunning!
"In contrast [to Carl Tanner as Ahab] was Matthew Worth’s measured performance as Starbuck. Worth’s baritone voice seemed a perfect fit for a good man, continually overruled by a fanatic captain. The opera’s highpoints were the moments in which Tanner and Worth shared the stage, exploring the relationship between Ahab and Starbuck and the boundaries each considers crossing to resolve their conflicts."
Benjamin Tomchik, Broadway World
Where Are the Songs of Summer?

“Matthew Worth, superb baritone hero of Schumann’s Dichterliebe the week before, now cycled his way through Mahler in a subtle, deeply felt account of the four Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’). Mahler’s wayfarer (more accurately, a wandering apprentice) bears significant resemblances to the wandering poet of Schumann’s cycle. … Worth embodied that forsaken apprentice—a Mahler self-portrait of sorts—with consummate understanding and hair-raising intensity. It’s a many timbre-d voice, as comfortable in the high tessitura of the closing verse as in the sustained legato that ends the first song. Keep an eye on this guy.”

John Stege, Santa Fe Reporter
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