Mozart is the perfect opera composer. Good directors and designers know that
everything is in the music. In that crucial respect, Opera Ireland's
modern-dress production of Cosi Fan Tutte does quite well. The direction of
Gavin Quinn and assistant Niall Morris, the designs of Bruno Schwengl, and
Thomas Marker's lighting compliment one another, and the updating of this
timeless tale...... In the immediate and unforgiving acoustic of the RDS concert
hall, the RTE Concert Orchestra and conductor Gianluca Febo produced tight
ensemble and colourful sound. This was in line with the whole evening - Mozart
was the star, but he was aided by solid musical and theatrical craft.
Martin Adams for Irish Times (extract)
"Still it's no suprise that his (Michael Flatley's) alter ego knew no bounds:
he had tenor extraordinaire Niall Morris, just back from performing an opera in Germany,
sing the psalm 'Here I am Lord'. Niall also sang 'Angel of Mercy' by Ronan Hardiman
(with slightly changed lyrics) and 'Panis Angelicus' by Caesar Frank."
Irish Sunday Independent, Living Section
In what seems like La Boheme meets Lord of the Dance, the beautiful singing
and music was provided by Niall Morris and Ronan Hardiman.
Irish Sunday Independent, News Section
"It's not easy for the singers as their parts are at times enmeshed under the
orchestra. Niall Morris left a good impression both as Electrician and shrewd waiter.
Simon Neubauer for Weser-News
The leading actor Takesha Meshé Kizart managed - with her great musical and acting
talents - to rope us into the destiny which was accompanied by the English
Gutter Press in some nasty way. The same goes for the highly talented acting of
Niall Morris, the powerful voice of baritone Graeme Broadbent and the witty
soprano Valdine Anderson.
Ute Schalz-Laurenze for taz Nord
The singing and, critically, the vocal acting on this new recording is superb.
Niall Morris proves himself a light and flexible singer, a dab hand at all of
these sinisterly superficial characters, and especially adept at Ades'
glorious parodies of '20s and '30s popular music.
Stephen Pettitt, Opera Magazine
The quality of the piece comes across strongly in the new EMI recording.
A crack instrumental band, conducted by the composer, swaggers with expressiveness
and virtuoso craft. The vocal writing proves sharply pointed, whether in pithy
phrases or glorious extended melodies. In the central role, Jill Gomez sings
with perfect poise, and there are excellent performances by Valdine Anderson
and Niall Morris, both sounding young, fun-loving and vulnerable as the hotel
employees who take on various parts in enacting the charade of the Duchess's career.
Paul Griffith for New York Times
Best of all, Niall Morris, that rising young Irish tenor as Dave, on-stage almost
through out the evening. His emission is sweet and pure, and unforced; his
vowels are distinct; he phrases words and notes into communicative sense.
He has candour, charm of personality, and charm of vocal manner. I'd like to hear
him as Ferrando, as Tamino, as Candide.
Andrew Porter, Opera Magazine
This young Irish Nemorino is a real charmer with the plangent,
soft-grained tenor of a 'natural' singer. He is so musical -
truly heart-rending in his famous numbers - and he 'feels'
the predicament of the farm-lad so truthfully, that one readily
succumbs to his performance.
Hugh Canning, Opera Magazine