Meet the ‘hunky’ star of Arizona Opera’s ‘Don Giovanni’
Baritone Morgan Smith is known for starring in contemporary operas, having originated roles in the world-premiere productions of Jake Heggie’s “Moby-Dick” and “For a Look or a Touch.”
He is also known for his ruggedly handsome face and sculpted physique, thanks in part to a blog called Barihunks, which extols the physical virtues of male opera stars, preferably pictured shirtless (and whether or not they are actually baritones).
Smith isn’t necessarily enamored of the Barihunk tag, but there’s no question his looks are an asset as he visits Arizona Opera to take the starring title in “Don Giovanni,” Mozart’s morality play about an inveterate womanizer, based on the legends of Don Juan. (He will perform Friday and Sunday, Feb. 26 and 28, with Joseph Lattanzi singing on Saturday, Feb. 27.)
You got great notices for singing “Don Giovanni” last year in Austin, Texas. Is this becoming a specialty role for you?
It’s one that I like to do, and when you like to do a role, it always shines through and you’re always more successful at it. And it’s one that I like to do because I feel like anything is possible. You can bring anything and everything to the table. There’s no such thing as over the top.
So you like playing the bad guy, the cad?
I’m a pretty gentle, amicable guy in real life … but I always appreciate a good challenge, and to play an iconic character,
N.Y. Times puzzle on 8D ply as an evil scoundrel, a rake. There’s a very immediate risk of the audience not liking him, and they have to like him. In order for a performance to be successful, the audience has to miss him when he’s gone. The women need to want him, and the men need to want to be like him.
How do you feel about being labeled a “Barihunk”?
I have nothing against Barihunks, but I would hope that opera would stand on its own without an oversexualization of the people who are performing. And I would also hope that we could expand our audience without sort of cheapening the art form and cheapening those who perform. Personally, I’m happy to per- form in various states of undress, but only if it serves what we’re trying to achieve dramatically on the stage. I’m not a fan of pandering.
But there is an increasing emphasis on having physically attractive singers in opera.
As there are more and more singers trying to pursue the profession, and with that greater casting pool, people who are producing opera have more choice in who they want to cast. With the advent of opera in the (movie) theaters as well, where you have a lot of close-ups and essentially opera as film, there is also a pressure and a trend toward casting people with more quoteunquote “movie-star looks.” In this opera in particular, this is kind of like “Carmen.” The person playing Don Giovanni needs to be in line with that iconic sort of Superman.
You spend a lot of time at the gym. Is that for career advancement, or would you do it anyway?
I would do it anyway. It makes me feel better. I find that for the actual singing, first and foremost, it keeps the pipes cleared out, so to speak, and keeps the muscles fresh and engaged in a way that actually helps the singing, and helps me to look healthy as well, and if that translates to the stage, then great. If I’m feeling good, I’m more inclined to do my job well.
Reach the reporter at kerry.lengel@arizonare public.com or 602-4444896.