Name:
Niall Morris
Third-level education:
Morris won a scholarship to the National Opera Studio in London
Occupation:
Classical singer
In the news for:
Morris is one of Ireland's most successful classical singers, known to many as
one of the Celtic Tenors. He is assistant director of Opera Ireland's production
of Mozart's Cosi Fan Tutte, which runs on alternating nights to Donizetti's Don
Pasquale at the RDS Concert Hall from 25 May to 2 June, before both move to
Limerick's University Concert Hall on 7 and 8 June.
Where did you grow up?
I grew up in Dundrum in Dublin, before it was the metropolis that it is today.
When did you get involved in music?
I was head choir boy at St Bartholomew's in Ballsbridge when I was in school and
decided I wanted to learn piano too. I asked my mum to buy one but she told me
they were very expensive. I had to prove I was serious about it by going down to
practise on our neighbour's for about a year. Eventually she relented and bought
me one so I trained as a pianist as well as a singer.
Who would you say influenced the course of your career most?
My piano teacher and head of the choir, David Milne. He was an inspirational
teacher. He was very strict and taught me the importance of accuracy. To this
day, I believe attention to detail is the secret to success.
What was your first paying job?
I spent a summer working in a factory in Sandyford Industrial Estate packing
perfumes into boxes.
What did you do after school?
I went to Trinity College Dublin to study music but left after a year as the
course was very academic and I was more interested in the practical side of
making music. I did a secret audition for the Guild Hall of Music and Drama in
London and got a scholarship to opera school there. That's where I learned the
skills needed for a career as an opera singer.
When did you get your big break?
My debut was Donizetti's Elisir d'Amore in Sadler's Wells in London when I was
only 25. But it was Thomas Ades's Powder her Face that put me on the map the
following year, as it was a very controversial production. It was later released
on EMI Classics and nominated for a Grammy. I loved living in London until the
end of my 20s when I decided to come home to Dublin, which was a hard move at
the time.Luckily, the opportunity with the Celtic Tenors came along at the right
time and we signed a big deal with EMI.
What was the best career advice you've ever received?
To stick at it. If I'd realised how difficult it was going to be, I would
probably never have done it. It is a demanding career
What has been the highlight of your career so far?
Performing in all the operas in London. Signing with the Celtic Tenors.
Performing for Bill Clinton. And singing at Michael Flatley's wedding was fun
too.
Have you had a career low point?
The decision to leave the Celtic Tenors. We were together for seven years so
it was a bit like being in a family. It's weird thinking they have got someone
to replace me. But it is the right thing for me as I want to expand
artistically. Being in the Celtic Tenors was very exciting but it was also sort
of commercial in a sense.
What was your most embarrassing moment on stage?
There have been a few. One was when I was standing in the wings in Waterford
Theatre and I asked a fellow performer to give me a push on stage, as the
character I was playing was meant to stumble on. He took me at my word and I
literally flew on to and across the stage
If you were to change career what would you do?
I'd like to buy a run-down old house in Tuscany and convert it into a little
guesthouse. At least I think I would. I probably have a very idealistic view of
what that would be like.
Interview by Hilary Fennell
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