Williams’ “dark, lustrous voice”

Posted on May 3, 2018 in Douglas Williams, Reviews | No Comments
Williams’ “dark, lustrous voice”

“Among the soloists, bass-baritone Douglas Williams brought a dark, lustrous voice and a sense of mortal desperation to “Lord teach me,” a meditation on the brevity of life.” — Read more at South Florida Classical Review

Williams’ “velvety bass-baritone”

Posted on Nov 4, 2017 in Douglas Williams, Reviews | No Comments
Williams’ “velvety bass-baritone”

“His velvety bass-baritone is both as muscular and lithe as Williams is physically and he acts not just with his face but his whole body… Williams’s charisma draws us to him as an enthusiastic lover of life…” — Read more at stage-door.com.

Williams’ “heroic bass-baritone”

Posted on Sep 10, 2017 in Douglas Williams, Reviews | No Comments
Williams’ “heroic bass-baritone”

“Williams displayed a heroic bass-baritone and brought an imposing presence to his selections. He put across a powerfully dramatic account of Schumann’s “Belsazar,” winnowing down to a strikingly hushed coda. He also lightened his voice and style artfully in two comic, wryly witty excerpts from Heggie’s Songs of the Moon, set to Vachel Lindsay texts.” […]

Douglas Williams “walked away with the evening’s vocal honors”

Posted on Mar 17, 2017 in Douglas Williams, Reviews | No Comments
Douglas Williams “walked away with the evening’s vocal honors”

“…Douglas Williams, who sang both the Ferryman in Curlew River and Aeneas, seemed to have the measure of the room; he walked away with the evening’s vocal honors.” — Read more at zealnyc.

Cummings and Williams in National Symphony’s ‘Messiah’

Cummings and Williams in National Symphony’s ‘Messiah’

“Rapid passagework in Baroque music can sound finicky, with a kind of sewing-machine needling; but time and again, Cummings encouraged playing and singing that were smooth, gentle, even tender — from the chorus in “He shall purify,” with its rapidly ornamented, high-flying lines, or from the strings in the recitative “There were shepherds.” …”James Kryshak, […]

Williams’ “irrepressibly charming Figaro” with Milwaukee Symphony

Posted on Sep 19, 2016 in Douglas Williams, Reviews | No Comments
Williams’ “irrepressibly charming Figaro” with Milwaukee Symphony

“Bass-baritone Douglas Williams’ beautifully sung, irrepressibly charming Figaro was perfectly matched by soprano Joelle Harvey’s feisty, smart, strong-willed take on Susanna…” — Read more at jsonline.com.

“Spring’s bounty blooms at Tanglewood’s Ozawa Hall”

“Spring’s bounty blooms at Tanglewood’s Ozawa Hall”

“Mezzo-soprano Diane Moore portrayed Spring as a kind of earth mother, rich in tones and bossy over the others…baritone Douglas Williams wore a pompous air…As in their previous Tanglewood appearances, McGegan had his period-instrument orchestra playing with impressive unanimity and spirit.” – Read more at berkshireeagle.com.

Williams’ “frightening and authoritative Kyoto”

Posted on Jul 24, 2016 in Douglas Williams, Reviews | No Comments
Williams’ “frightening and authoritative Kyoto”

“Douglas Williams as the brothel owner who abducts Iris was a frightening and authoritative Kyoto, wielding an attractive baritone and crisp attacks on Luigi Illica’s incredibly texty libretto.” — Read more at Opera Teen.

La Gloria di Primavera: Gramophone Magazine Editor’s Choice

La Gloria di Primavera: Gramophone Magazine Editor’s Choice

“The Philharmonia Baroque Orchestra’s string-playing is routinely urbane, and the continuo group’s realisa-tions are impeccably shaded…Diana Moore is expressive with words and musical details in Spring’s splendid arias…part 2 has a theatrical impact thanks to Douglas Williams’s resonance and mastery across a wide-ranging tessitura. This is a delightfully enjoyable revelation of the elder Scarlatti’s genius.” […]

“Scarlatti’s ‘La Gloria’ arrives in So Cal” with McGegan, Moore, and Williams

“Scarlatti’s ‘La Gloria’ arrives in So Cal” with McGegan, Moore, and Williams

“Mezzo-soprano Diana Moore made a gracious Spring, her vibrato taut and phrasing lithe…Bass-baritone Douglas Williams provided a comically pompous and jaunty Jove. Meanwhile, McGegan and the Philharmonia Baroque supported in glowing hues and lyrical lines, the rhythm driven from the bottom of the orchestra (as in a good jazz band) and the violins gamboling ebulliently.” […]