Stephen Morscheck

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Composer	Opera	Role
Albeniz	Merlin	Archbishop of Canterbury
Beethoven	Fidelio	Rocco
Bellini	I Capuleti e i Montecchi	Capulet
Bizet	Carmen	Escamillo
	Les Pecheurs de Perles	Nourabad
Charpentier	Louise	Le Chiffonier
Davis	Amistad	John Quincy Adams
Donizetti	Lucia di Lammermoor	Raimondo
	Anna Bolena	Rochefort
Gounod	Rome et Juliette	Frere Laurent
Handel	Alcina	Melisso
	Ariodante	Il Re
	Tamerlano	Leone
Janacek	The Cunning Little Vixen	Parson
Massanet	Thais	Palemon
Mozart	Cosi fan tutte	Don Alfonso
	Don Giovanni	Don Giovanni, Leporello
	Idomeneo	Creton
	La Clemenza di Tito	Publius
	Le Nozze di Figaro	Figaro, Bartolo
	La Clemenza di Tito	Publius
Puccini	La boheme	Colline
	Tosca	Angelotti
	Turandot	Timur
Rossini	Guillaume Tell	Gelser
	La Cenerentola	Alidoro
	Il barbiere di Siviglia	Don Basilio
	Il Viaggio a Rheims	Don Prudenzio
Smetana	Prodono Nevesta	Kecal
Strauss	Die Fledermaus	Frank
Strauss	Salome	Fifth Jew
Stravinsky	The Rake’s Progress	Nick Shadow
Thomas	Hamlet	Claudius
Verdi	Aida	King
	Don Carlo	Forester
	Nabucco	Sacerdote
	Rigoletto	Sparafucile
	Un Ballo in Maschera	Tom
Wagner	Die Meistersinger	Night Watchman, Schwarz

Composer	Work
Bach	Cantatas
	Magnificat
	B minor Mass
	Christmas Oratorio
	St. John Passion
	St. Matthew Passion
Beethoven	Choral Fantasy
	Mass in c minor
	Missa Solemnis
Berlioz	Damnation of Faust
Handel	Messiah
Haydn	The Creation
	The Seasons
Mahler	Eighth Symphony
Mendelssohn	Elijah
Mozart	Coronation Mass
	Mass in c minor
	Requiem
Purcell	King Arthur
Rossini	Stabat Mater
Verdi	Requiem

Bass-baritone Stephen Morscheck is widely respected for the dignity he brings in both concert and operatic performances. “Stephen Morscheck’s Leporello was genuinely funny, as well as solidly sung. His catalogue aria was almost too effective, drawing applause before its conclusion,” says Opera News of a recent Don Giovanni performance. Of Verdi’s Requiem, The Boston Herald said he, “projected…with just the right thrilling, in-your-ear Verdian punch…Morscheck’s bass seemed the perfect medium for some of heaven’s sterner pronouncements.”

Current and upcoming engagements include Capellio in I Capuleti e I Montechi with the Lyric Opera of Kansas City, Basilio in Il Barbiere di Siviglia with the Orlando Philharmonic, Bach’s St. Matthew Passion with Soli deo Gloria under John Nelson, and Beethoven’s 9^th Symphony with the Sheboygan Symphony Orchestra.

Recent engagements include Capulet in Roméo et Juliette at Opera Colorado, Dallas Opera, and Florida Grand Opera; Bartolo in Le nozze di Figaro at Lyric Opera Baltimore; and Father Trulove in The Rake’s Progress at the Princeton Festival, where he previously performed Il Ré in Ariodante.  Recent concert appearances include Verdi’s Requiem with the Knoxville Symphony Society; Dvorak’s Requiem with the UNC Summer Music Festival; Haydn’s Lord Nelson Mass with the Music of the Baroque; Elijah with Opera Naples; Ein Deutsches Requiem and Mozart’s Requiem with the Sheboygan Symphony; Beethoven’s Symphony No. 9 with the Glacier Symphony and Chorale and Wichita Falls Symphony Orchestra; Jesus in Bach’s St. Matthew Passion with the Netherlands Radio Kammerphilharmonie as well as with Festival de Saint-Denis and SDG Music under John Nelson; Bach’s B Minor Mass with the Alabama Symphony Orchestra; St. John Passion at the St. Vincent de Paul Church in Chicago; Handel’s Messiah with Pacific Symphony, Santa Fe Symphony, and Orchestra Kentucky; and Beethoven’s Choral Fantasy and Symphony No. 9 with the Roanoke Symphony and Alabama Symphony.

Additional operatic engagements have included Palemon in Thaïs with the Lyric Opera of Chicago; Colline in La bohème with Los Angeles, Dallas Opera and L’Opera de Montreal; Raimondo in Lucia di Lammermoor with Washington National Opera and Arizona Opera; Bartolo in Le nozze di Figaro with Dallas Opera; Rocco in Fidelio at Opera Company of Philadelphia and the Florentine Opera of Milwaukee; Basilio in Il barbiere di Siviglia with L’Opera de Montreal, Kentucky Opera, and Atlanta Opera; Alidoro in La Cenerentola with the Lyric Opera of Kansas City, Orlando Opera, and Florentine Opera; Leporello in Don Giovanni with Opera Carolina; Sparafucile in Rigoletto with the Florentine Opera; Don Alphonso in Cosi fan tutte with Arizona Opera and Kentucky Opera; and Nourabad in Les Pêcheurs de Perles with Kentucky Opera. With the Spoleto Festival USA, appearances have included Le Chiffonnier in Louise and John Adams in Amistad and with the Santa Fe Opera, Publius in La Clemenza di Tito.

A very active soloist, he has appeared numerous times with the L’Ensemble Orchestral de Paris in repeat performances of both St. John Passion and St. Matthew Passion.  With the Music of the Baroque in Chicago he has performed Mozart’s Requiem, Simon in Judas Maccabeus, King Arthur, and the title role in Hercules.  Additional appearances have included Handel’s Messiah with the Toronto Symphony Orchestra, Dallas Bach Society, and Duke Chapel Choir; Dvorak’s Stabat Mater with the Berkshire Choral Festival; Beethoven’s Symphony No. 9 with the National Symphony Orchestra in Santo Domingo; Mozart’s Coronation Mass at the Spoleto Festival; Verdi’s Requiem with the Anchorage Symphony and University of North Texas; Beethoven’s Missa Solemnis with the Milwaukee Symphony and the Choral Society of Durham; Bach’s B-minor Mass with the National Symphony Orchestra of Costa Rica in San Jose; Mozart’s Requiem with the Eastern Connecticut Symphony; and soloist in the Atlanta Opera’s La Belle Soirée.

Stephen Morscheck graduated from Wheaton College and completed advanced degrees from the University of Michigan.  In 1995, he was awarded the “Richard Tucker Career Grant.” He currently serves as the Assistant Professor of Voice at the University of North Texas, Denton.