Interview: Andrew Morstein Makes His Opera Theatre Of St. Louis Debut in THE BARBER OF SEVILLE

Critics are raving about Opera Theater of St. Louis’ (OTSL) production of THE BARBER OF SEVILLE, calling it riotously funny and dazzling with comedic brilliance. Tenor Andrew Morstein is making his OSTL debut and sings the role of Count Almaviva. His comedic performance has been called virtuosic, lyrically beautiful, and vocally acrobatic. Morstein, who is a rising international opera star, sat down with Broadway World to talk about his experience with the Rossini opera, the current production at the Loretto-Hilton Center, and what he is doing with his time in St. Louis.  

This marks the fourth time that Morstein has performed in a production of THE BARBER OF SEVILLE. He told Broadway World that he knows this piece very well. He shared that in 2022 while performing the opera in Vienna, Austria, the entire cast, except the conductor and him, contracted covid just prior to opening night. Morstein said, “my first time singing the role was trial by fire, performing with an entire cast of swings and understudies that I had not rehearsed with.” He talked about having to be prepared to react to things he wasn’t expecting. “That experience was very difficult, but it afforded me the opportunity to gain a different layer of knowledge and depth of comfort with this role,” he explained. 

This is the third time he is singing the role of Almaviva, but the first time in English. In his two other previous times performing the role he sang in Italian. He talked about the quality of Kelley Rourke’s translation into English and how much he likes it. He said, “the language not only works for the story, but it also works for the actors and singers on stage.” He shared that in the 1930’s it was common for operas to be translated into German for performances in Austria. He said that singing in English is very idiomatic to him, and being able to sing it in his native language helps make it more accessible to the audience.  

When asked about the colorful and whimsically silly costumes that he gets to don in the production Morstein said, “these balloon pants that I wear have become the most famous pants in American opera right now.” He continued, “Lynly Saunders is the costume designer. She and the team at OTSL have done an amazing job of building these costumes from scratch.” He shared that the costumes for Almaviva are the most lavish, interesting, and fun that he’s ever worn while playing this role. He said, “It is a genuine joy to walk on stage wearing the soldier uniform, the teacher costume with the huge balloon pants and fun glasses, and the crazy colorful zoot suit tuxedo that I wear at the end.” Morstein talked about how the audience reaction to his costumes drives his performance to a different level.  

Morstein currently lives in Chicago with his wife and is excited about performing close to home. He had auditioned for the young artist program with Opera Theatre of St. Louis in 2017. He humbly shared that he was likely auditioning before he was ready for this level of performance and unfortunately did not get into the program.  

Fast forward six years when Morstein was performing in Vienna and met Tobias Picker, the composer of the opera AWAKENINGS. In February of 2023, Picker invited Morstein to join the remounting of AWAKENINGS and sing on the recording. That production was directed by James Robinson, the Artistic Director of OTSL. Morstein said, “the role of Almaviva for this season’s production hadn’t been cast, so my agent and I reached out to James Robinson. I sang for him, and I was cast.” He shared that it is a dream come true for him to be here and that he has always wanted to sing with Opera Theatre of St. Louis.  

Morstein and Picker have become very close friends. In addition to their love of opera, both have Tourette’s Syndrome. Morstein credits music for the cathartic effect it has had on his ability to channel difficult emotions. He talked about the healing power that music and performing has had on him. In 2022 he had heart surgery to correct a congenital condition. He said, “it was wanting to get back on stage that helped me push through the recovery process.”  

He says he is enjoying the city of St. Louis, and he appreciates all the time he is getting to spend in Forest Park. He said, “As city parks go, it is one of the best parks in the country, if not the world.” Morstein feels qualified to make that assessment because he has visited city parks in 42 other states where he has performed. He shared that he has become active in the pickle ball community in St. Louis, is looking forward to visiting the St. Louis Zoo, and has purchased tickets to see LES MISERABLÉS when it opens at The Muny next week. He also said he is enjoying the dining scene in St. Louis. Morstein worked as a bartender for Gerard Craft at his Pastaria location in Nashville when he was saving money for school. He said, “He and I have stayed in touch, I've been to a few of his restaurants here, and he is coming to see the show!” 

When asked about why audiences and critics alike are loving this production of THE BARBER OF SEVILLE, Morstein says, “Our director, Eric Sean Fogel, has leaned into the fact that his is a colorful comedy and he found the right moments to draw the audience into the drama of the piece.” He said that Fogel is also a choreographer and there is a lot of movement that is really tight and well-timed. “There is never a dull moment and Fogel’s vision counterbalances all the silliness, and there is a lot of silliness,” he laughed. 

The St. Louis Symphony Orchestra, directed by Italian Director Jonathan Brandani, plays the score for the production. Morstein says that he has performed with some of the best orchestras in the world, and The St. Louis Symphony is absolutely phenomenal. “You all are super, super lucky to have them here,” he exclaimed.”   

Morstein hopes that St. Louis audiences will continue packing the Loretto-Hilton Theater for the remaining performances of THE BARBER OF SEVILLE. “Come to laugh and experience love. Come for the bright colors, and for a lovely, bubbly, opera experience,” he said. 

There are six remaining productions of THE BARBER OF SEVILLE through June 29, 2024. Click the link below for more information about the Opera Theatre of St. Louis’ 2024 Festival that runs through the month of June.

ARTIST PHOTO CREDIT: Gillian Riesen

PRODUCTION STILLS PHOTO CREDIT: Eric Woolsey 

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