Vocalist - Baritone
Acclaim
 
In the Opera's Shadow, Another Gem
"A somewhat longer concert at the museum on Thursday evening featured the splendid rising baritone Matthew Worth in a performance of Schumann’s song cycle 'Dichterliebe' ('Poet’s Love') with the young pianist Shai Wosner, who had been heard earlier in the festival in a Schubert program.

"Mr. Worth was simply superb, singing with exquisite sensitivity where needed but also growling strongly — despite the protestations of the text — in 'Ich grolle nicht' ('I don’t complain'). His voice and manner seemed ideally suited to the lieder format, although he is also making his way in opera."

James R. Oestreich, New York Times
St. Louis: Winner and Still Champion
“Matthew Worth’s refined baritone has been on display at any number of the nation’s high profile assignments recently and with good reason: his bright, fresh baritone, virile and buzzy in lower patches, sails easily up to tenor territory seemingly at will. As Tomes, he cuts a fine figure, relaxed and appealing.”
James Sohre, Opera Today
'The Kiss' charms at Opera Theatre of St. Louis
“Matthew Worth [sings] the role of Lukas’ brother-in-law. The possessor of a dark, gorgeous baritone, he’s handsome and believable as well.”
Sarah Bryan Miller, St. Louis Post-Dispatch
In Norfolk, life's a 'Carousel' in May
“Smooth and endlessly flexible operatic baritone Matthew Worth, the surprising star of the Virginia Opera’s sneak hit ‘Orphée’ last season, firmly anchors the company’s current production as a nasty, abrasive, yet oddly touching Billy Bigelow. Complete with a believable Maine accent, Mr. Worth’s incredibly expressive voice easily persuades us of the romantic side of Billy’s character, hidden inside his defensive persona but longing to be released, giving his interpretation of one of this show’s signature songs, ‘If I Loved You,’ a genuine poignancy.”
Terry Ponick, Washington Times
Boston Lyric Opera's "Così fan tutte"
“Vocal highlights abound: Worth and Eddy in their love duet, ‘This heart I give you.’”
Jeffrey Gantz, Boston Globe
Cosi Fan Tutte
“Handsome Matthew Worth made an excellent Guglielmo. Not only does he possess good looks, but an unusually warm, resonant baritone as well.”
Ed Tapper, Edge Boston
Fine cast explores the dark shadows in Boston Lyric's "Così fan tutte"
“Boston Lyric has again assembled an excellent ensemble cast. Not only the voices, but the physical qualities and temperament of the four young lovers serve their roles. Sandra Piques Eddy brought movie-star looks to an extroverted and playful Dorabella. Her eventual seducer, Matthew Worth’s Guglielmo, has a matching physique and playfulness that made their pairing seem inevitable. Both were vocally impeccable. Worth’s baritone is open and incisive, and Eddy’s mezzo is strong and colorful, stirring palpable excitement with her act I mock-heroic aria Smanie implacabili.”
Angelo Mao, Boston Classical Review
The wide-ranging repertoire revealed a bright, expressive, well-controlled, yet surprisingly powerful lyric baritone voice. The opening selection, 'Daniel Boone Sings to the Night Sky,' written for Worth by Alan L. Smith, demonstrated not only a rich and flexible middle and upper range, but a beautiful falsetto as well. It also exemplified Worth’s excellent diction. Throughout the concert, Worth made sure the text of every song came through clearly and expressively. The full range of color in Worth’s voice were most evident in Andrew Staniland’s song cycle ‘Peter Quince at the Clavier.’” Read More...
Gene Harris, Richmond Times-Dispatch
Minnesota Opera offers riveting debut for 'Doubt'
“Baritone Matthew Worth, the male lead in this tenorless opera, makes us feel ambivalent about Father Flynn and makes his every syllable intelligible.”
Larry Fuchsberg, Minneapolis Star-Tribune
Intrigue's Shadow in a Church
“Matthew Worth, a fine baritone, brought out the ambiguity of Father Flynn’s character.”
James R. Oestreich, New York Times
"Doubt: An Opera"
“Highlights in the cast include the cello-voiced Worth’s charmingly mysterious Flynn.”
Joe Kellen, Minnesota Daily
No 'Doubt' about it: Minnesota Opera stages compelling adaptation of Shanley play
“As Father Flynn, Matthew Worth complements his flexible baritone with a dashing, ingratiating presence that may or may not conceal a dark secret.”
Mike Silverman, Associated Press
'Doubt' review: Complex Minnesota Opera production is simply impressive
“Matthew Worth matches her [soprano Christine Brewer as Sister Aloysius] with a note-perfect performance as Father Flynn. A baritone asked to traverse a tremendous expanse in this role, both musically and in characterization, Worth makes him complex and fascinating, charismatic and conflicted.”
Rob Hubbard, Pioneer Press
OKLAHOMA! - Central City Opera
“The clear star of Oklahoma! – and perhaps of the whole summer in Central City – was baritone Matthew Worth, the strapping embodiment of Curly’s bright-eyed optimism and wholesomeness. Lighting up the stage every time he appeared, Worth really got things rolling when he stepped into the rear of the opera house and serenaded the audience on the way to the stage with a vital, resounding version of ‘Oh, What a Beautiful Morning.’ His plush, honest baritone voice was perfectly suited to this song, and to the entire musical.”
Kyle MacMillan, Opera News
Figaro into Three Decembers: The Fort Worth Opera Festival marches on with two more superb productions
"Worth ... [was] spectacular. Worth cut a likable figure, had a booming voice with great control, and delivered Heggie's gallows humor with precise timing and cadence."
Anthony Mariani, Fort Worth Weekly
Three Decembers in Fort Worth
"Matthew Worth's expressive singing as Charlie is heart-breakingly beautiful in vocal and emotional tone."
Laurie Lynn Lindemeier, Pegasus News
Remembering December: Fort Worth Opera's exquisite production of Jake Heggie's Three Decembers is a welcome entry into the canon.
"The role of Charlie is, far and away, the most difficult of the three, dramatically. Portrayed expertly by Matthew Worth, Charlie is a gay man in the heart of the AIDS epidemic of the 1980s (his partner has contracted HIV and is slowly dying), and he feels alienated from Madeline because she refuses to acknowledge his partner (or, it's implied, his homosexuality). Worth has an amazingly smooth texture in his singing voice, which is matched with his solid acting skills. Charlie has the greatest growth of all the characters, and Worth navigates the minefield that is Charlie easily and with solid aplomb."
John Norine, Jr., Theater Jones
Glass' ORPHÉE - Virginia Opera
"As much through his singing as through his acting, Matthew Worth left a memorable mark on the title role. His sizable baritone filled out the music warmly and with abundant nuance; a conversational directness in his phrasing enhanced his finely detailed acting."
Tim Smith, Opera News
Opera revels in mystery
"Matthew Worth, the University of Richmond music graduate who has parlayed his rich baritone into a career as an interpreter of Mozart and contemporary opera, leaves nothing to be desired as the tortured Orphée. He's as adept at creating an achingly vulnerable character as he is at putting Orphée across vocally."
Roy Proctor, Richmond Times-Dispatch
'Orphée'

"The cast ... is uniformly strong and gratifyingly nuanced in both voice and character. [Matthew] Worth, the University of Richmond alumnus last seen and heard here in the title role of Mozart's ‘Don Giovanni,' proves to be as commanding a presence and as idiomatic a voice in this very different work."

Clarke Bustard, Letter V
"At 33, Worth is a shooting star in American opera, a respected interpreter of Mozart and the contemporary cutting edge." Read More...
Roy Proctor, Richmond Times-Dispatch
Virginia Opera Does It Again
"Buck was matched vocally by the robust baritone of Matthew Worth and strong, radiant soprano of Sara Jakubiak as Eurydice."
Charles T. Downey, IonArts
vVirginia Opera's robust staging of Philip Glass' 'Orphee'
"In Friday's performance, baritone Matthew Worth proved a terrific Orpheus, deeply intellectual, vain, suspicious, and even at times put-offish. His voice radiated a central authority even when he seemed bewildered."
Terry Ponick, Washington Times
Va. Opera's 'Orphée' powerful, haunting
"The large cast had no weaknesses. First among equals was Matthew Worth as Orphée, using a powerful and rich baritone to great effect as the tormented poet who struggles to find meaning in his life and art. His performance conveyed both the strengths and weaknesses of the character, and did so in a sympathetic manner that carried the audience along on Orphée's journey."
Paul Sayegh, Virginian-Pilot
Faust - Santa Fe Opera
"Matthew Worth provided an intense, individualized Valentin."
Simon Williams, Opera News
Witty and wise 'Cosi' is in good hands at Minnesota Opera
"Matthew Worth was a rightly stentorian egotist as Guglielmo and showed just the right voice for the part: dark and flexible."
Michael Anthony, MinnPost
'Cosi' fantastic: Mozart's magic in this story of seduced sisters is elevated to masterpiece by stellar singing and staging
"But the second-act arias offer everyone a chance to step into the spotlight and show off some impressive pipes. There's touching tenderness in tenor John Tessier's solos, strength and suppleness in those of baritone Matthew Worth, each drawing sympathy for the scoundrel-ish soldiers."
Rob Hubbard, Pioneer Press
Santa Fe Opera: Review
"Chief conductor Frédéric Chaslin led a fine cast, including soprano Ailyn Pérez (Violetta in Opera Theatre of St. Louis' 2007 'La Traviata' and the four heroines in OTSL's 2008 'Tales of Hoffmann') as Marguerite, singing gorgeously; tenor Bryan Hymel as a Faust with ringing tones; baritone Matthew Worth as an upright Valentin; Jennifer Holloway (quite simply the all-around best trouser role mezzo I've ever seen) as Siebel; bass-baritone Mark S. Doss as a supremely menacing Mephistopheles; and mezzo Jamie Barton as a deliciously self-satisfied Marthe."
Sarah Bryan Miller, St. Louis Post-Dispatch
Darkening 'Dream': BLO presents Britten's take on Shakespeare
"Chad A. Johnson and Matthew Worth both sang vividly as Lysander and Demetrius, respectively."
Jeremy Eichler, Boston Globe
'Rape of Lucretia,' Castleton Opera review
"Tarquinius was embodied with sonorous menace by baritone Matthew Worth."
Joshua Kosman, San Francisco Chronicle
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