Vocalist - Baritone
DIE ZAUBERFLÖTE - New Orleans Opera
"Baritone Matthew Worth was an enchanting Papageno - funny, energetic and at times rather touching. In a rich baritone voice, he tossed off his two arias with élan."
George Dansker, Opera News
For Song Festival, a Program of Personal Significance
"Mr. Blier had impressive partners for this journey in the tenor Scott Murphee, the baritones Jesse Blumberg and Matthew Worth and the bass Matt Boehler. Here were four vocally gifted young artists palpably committed to the project and, most important to an exacting coach like Mr. Blier, instinctive communicators who proved that operatic voices can sing English with conversational clarity if they care enough."
Anthony Tommasini, New York Times
Two basses lead hilarity in 'Barber of Seville'
"Baritone Matthew Worth cut the figure of Figaro quite well, bursting with charisma throughout."
Andrew Druckenbrod, Pittsburgh Post-Gazette
CCO Gives The Barber Ensemble Power
"Baritone Matthew Worth, who sang Figaro, entered from the back of the theater singing the opening of the famous aria ‘Largo al factotum' while he transversed the aisle to reach the stage. Worth has a voice of colors and shades, and his ability to project humor and parody never detracted from the artistic quality of his sound. He quickly became an audience favorite, and his presence dominated every scene in which he participated."
Jeffrey Johnson, Hartford Courant
Three Decembers, Chicago Opera Theatre, 5/8/10
"Matthew Worth's warmly youthful baritone is intrinsically appealing, and he shaded Charlie's music with intelligence and great sensitivity."
Mark Thomas Ketterson, Opera News
An over-the-top "Underworld" romp
"Other standouts include baritone Matthew Worth, who assures that Jupiter's buzzing transformation into a fly is a vocal and comedic high point ... "
Kyle MacMillan, Denver Post
Three Decembers
"The star [Von Stade] received exemplary support from Worth and Jakubiak, fine young performers you could really believe were siblings. They delivered the show's most touching number -- brother and sister reminiscing about their childhood as they strolled amid wisps of fog along the Golden Gate Bridge. And they pulled out all the stops in a funny, Broadway-style show-stopper about their mom's addiction to buying shoes."
John von Rhein, Chicago Tribune
Three Decembers
"It contains a contemporary story and it is sung by two outstanding young performers - Matthew Worth (Charlie) (baritone) and Sara Jakubiak (Beatrice)( soprano). And Three Decembers features the fabulous mezzo-soprano Frederica von Stade as Madeline, the matriarch. The three soar to the heavens with Heggie's velvet score."
Tom Williams, Chicago Critic
"Three Decembers" is slight stuff, but von Stade luminous in her opera farewell
"Matthew Worth, who made a memorable COT debut in the title role of Owen Wingrave a year ago, built on that impressive debut as Charlie. Underplaying skillfully, Worth sang with a warm baritone and crystal-clear enunciation, painting a dignified, sensitive portrait of Madeline's loving yet conflicted son."
Lawrence A. Johnson, Chicago Classical Review
Is Gordon & Korie's "Grapes of Wrath" the Great American Opera?
"Baritone Matthew Worth made significant contributions in several roles-Connie Rivers, Rosasharn's starry-eyed husband, who, discouraged, deserts her; the ragged man, on his way back from California, with a hard luck story that fails to deter the Joads from pressing on; the truck driver, who gives Tom a ride when he's released from prison; and the deputy who confronts Ma Joad, who feigns ignorance when he questions her about Tom, although she's on her way to bid him farewell."
Bruce-Michael Gelbert, Mundo Q
The Joads, the Highway, the Dust Bowl
"Rose of Sharon, the pregnant teenage daughter of the Joad family, and her stalwart husband, Connie Rivers, [are] roles sung impressively here by the appealing soprano Elizabeth Futral and the energetic baritone Matthew Worth."
Anthony Tomassini, New York Times
The Grapes of Wrath Collegiate Chorale & American Symphony Orchestra, Carnegie Hall
"Matthew Worth handled the varied triple duties of Connie Rivers, the Ragged Man and the Truck Driver with a cultivated, fine sound and considerable presence..."
David Shengold, Opera News
Opera review: Don Giovanni
"How does Mozart's bad don pull it off? Matthew Worth, who has been making operatic tracks since he graduated from the University of Richmond in 2000, makes it look easy. His Don Giovanni moves like a swashbuckler, talks like a used-car salesman and possesses a baritone so supple and innocently seductive that it could put any baby to sleep."
Roy Proctor, Richmond Times-Dispatch
Review: 'Don Giovanni'
"Worth, a University of Richmond alumnus (class of 2000), returns to town in a role he thoroughly commands, vocally and dramatically. His physical vitality carries every scene in which he appears; his timing, pitch and diction set a standard that only Mobbs matches. Their exchanges, enhanced by Mobbs' comic acting, are by far the most satisfying of this production."
Clarke Bustard, Letter V
"Matthew Worth's Giovanni is smooth and persuasive."
Lucia Anderson, Fredricksburg Free Lance-Star
Virginia Opera Impresses with New "Don Giovanni"

"Baritone Matthew Worth was superb as Don Giovanni, interpreting the priapatetic nobleman as a cool psychopath who enjoys a heavy dash of comic irony in his personal relationships-to the point of imagining his countless conquests are always grateful for his abuse and subsequent abandonment....

"Mr. Worth's well-supported voice was authoritative yet subtle, creating a sense of villainy that's strictly under control."

Terry Ponick, Washington Times
Virginia Opera plays 'Don Giovanni' at George Mason University
"Matthew Worth's ubermensch Giovanni had a real punch to his baritone, most notably at the finale."
Cecelia Porter, Washington Post
Roméo et Juliette, New Orleans Opera Association, 11/20/09
"Matthew Worth as Mercutio offered a brilliant ‘Queen Mab' aria."
George Dansker, Opera News
Night (Two) at the Opera: Don Giovanni
"But no matter how funny they are or how handsome, charismatic, and winningly energetic Matthew Worth is as the lead character, Don Giovanni, Mozart's opera portrays a dark, convoluted world."
Michael Pearson, AltDaily (VA)
Virginia Opera's Don Giovanni a pleasing performance
"The singers, led by Matthew Worth in the title role, were glorious."
David Nicholson, Daily Press (VA)
Virginia Opera delivers seductive 'Don Giovanni'
"In the title role, baritone Matthew Worth sang and moved around the stage with energy and agility. His voice was so resonant, so attractive that the audience was tempted to admire his character, just as Mozart intended. Giovanni, after all, had an impressive record of seductions."
Lee Teply, Viginia-Pilot
New Orleans Opera's 'Romeo et Juliette' is beautifully sung and hauntingly acted
"Matthew Worth offered a particular highlight as Mercutio. He gave an agile and pleasing rendering of the tricky 'Queen Mab' aria. A striking performer, watch for his star to rise."
Ted Mahne, New Orleans Times-Picayune
Castleton Farm: "The Rape of Lucretia"
"A trio of barihunks proved that well-trained, carefully directed younger singers can deliver polished, high-quality portrayals; especially Worth, whose wrathful Etruscan character seemed intuitively to sense the consequences of his assault on Lucretia."
Jerry Floyd, Opera
<span style="font-size: x-small;">Worth, above, a singularly appealing Wingrave at COT</span>.<br />
Owen Wingrave, Chicago Opera Theater, 5/22/09
"The title role afforded American baritone Matthew Worth ample opportunity to display an attractive, light voice with a singularly appealing warmth in the upper-middle register. 'Now You May Save Your Scornful Looks,' Owen's aria of emotional emancipation, was splendid, emerging as the affective vortex of the drama."
Mark Thomas Ketterson, Opera News
Tamara Mumford in &ldquo;The Rape of Lucretia,&rdquo; with Matthew Worth, at the Castleton Festival.
Down on a Virginia Farm, a New Festival of Music
"In that role [Tarquinius] Matthew Worth sang powerfully and prowled the stage with an unquenchable libido."
Steve Smith, New York Times
'Lucretia': Death and Depravity, Well Sung
"The incisive baritone and feral libido of Matthew Worth's Tarquinius stood out in the male cast ..."
Charles T. Downey, Washington Post
ASO concert pleases crowd
"The Rossini trio also sang the 'Carmina' solos, led by Matthew Worth's rich, velvety baritone. He sculpted his Latin words in 'Dies, nox et omnia' ('Day, night and everything') with passion and intelligence, a major star in the making."
Pierre Ruhe, Atlanta Journal-Constitution
The Merry Widow, Dayton Opera, 3/28/09
"At the opposite end of the height spectrum was the tall, lean, elegant Danilo of Matthew Worth. His straightforward, bright baritone lovingly caught the insouciance and the seriousness of the confused hero."
Charles H. Parsons, Opera News
Benjamin Britten's opera "Owen Wingrave"
"Matthew Worth was a poignant Owen."
Heidi Waleson, Wall Street Journal
The Case for Britten's "Owen Wingrave"
"Baritone Matthew Worth was superb in the title role, resolute yet touchingly distressed as he faced the hurricane of disapproval."
Wynne Delacoma, Musical America
Total: 104 (Viewing: 61–90)