Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists

THE BEST OF GILBERT AND SULLIVAN

A GERSHWIN GALA

Concert Quartets

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Bradley Williams, tenor

Die Entführung aus dem Serail – Opera Memphis

Die Entführung aus dem Serail – Opera Memphis

 

Friday night’s opening night audience heard one of the sweetest tenor voices on a local opera season for some time as the nobleman Belmonte.  Bradley Willams (Belmonte) brought to the cast a tenor that managed to be large and compelling without forcing high notes.  His Shall I Finally See You Constanze? in Act One was a truly fine moment.

The Commercial Appeal

 

La Fille du Régiment - Opera Australia

 

Texan tenor Bradley Williams presented an earnest portrait of the young Tyrolean peasant as ardent suitor.  His voice was steady and pure and he maintained his footing on some hazardous musical terrain.

Sydney Daily Telegraph

 

American tenor Bradley Williams as Tonio, Marie’s love sang well.  His Act Two aria was a musical high point.

Capitol Q

 

Marie’s peasant beau, Tonio, was sung by a young American newcomer, Bradley Williams.  His true voice and Seven Brides for Seven Brothers good looks hint that he can only get bigger and better as time goes by.

The Bulletin

 

Don Giovanni - Florentine Opera Milwaukee

 

James Courtney’s Commendatore, Kelly Anderson’s Masetto and Bradley D. Williams’ Don Ottavio completed the strong cast.  Williams, especially impressed with his breath control in long phrases and beautifully floated pianissimos in two showpiece arias.

Milwaukee Journal Sentinel

 

La Cenerentola - San Diego Opera

 

Bradley Williams is truly royal as the Prince.  He has a sweet tenor and impressive range but only one opportunity to sing.

North County Times

Don Ramiro lo interpretó el tenor americano Bradley Williams, simpático, romántico y amoroso.

La Prensa

 

La Cenerentola - Berkshire Opera

 

Williams is a boyish-looking tenor and his voice has a youthful ring.  He has excellent range, marvelous control and the facility needed to flutter about accurately in coloratura passages.

The Daily Gazette

 

Bradley Williams’ clear, elegant lyric tenor was perfect for the role of the Prince.  He easily made all of the high notes in this difficult role securely.

WBRK Radio Pittsfield

 

Tenor Bradley Williams’ light-textured voice fit the part of the Prince nicely.  The high C’s were right on target!

Taconic Week

 

Her prince, Don Ramiro, was sung and nicely acted by tenor Bradley Williams.  Williams’ instrument was a contender in Rossini’s vocal olympics, able to negotiate glistening scales and flip to high B’s and C’s with tuneful ease.

Union-News

 

Bradley Williams acquitted himself of the role with appropriate good looks and a feather-light tenor voice that did justice to the hefty coloratura demands.

Berkshire Record

 

Bradley Williams proved a nimble, clear-toned tenor and a straight-forward actor as the Prince, Don Ramiro.

The Boston Globe

 

Lyric tenor Bradley Williams goes after Rossini’s highly difficult tessitura in the role as the Prince.  It is peppered with high notes, and Williams interpolates a few extras on his own.

Albany Times Union

 

Tenor Bradley Williams, as the love-stricken Don Ramiro, is another newcomer here.  His mellow voice executes some remarkably florid coloratura-like lines vis-a-vis his Cinderella.

The Advocate


 

 

Harvey Milk - Houston Grand Opera (World Premiere)

 

Harvey meets his lover, Scott (the silvery tenor Bradley Williams), at the Stonewall riots in Manhattan, and the two of them sing the arching Italianate duet “ This warm night in June”.

Washington Post

 

Bradley Williams was appropriately ardent as Scott.

The San Diego Union-Tribune

 

 

The rest of the cast  filled multiple roles,  with not a single weak link among them.  Most impressive,  perhaps,  were tenor Raymond Very as Dan White,  tenor Bradley Williams as Scott,  and soprano Juliana Gondek as Mama and Dianne Feinstein.

The San Francisco Chronicle

 

Tenor Bradley Williams,  as Milk’s lover Scott,  is blessed with a lighter,  more flexible instrument than Raymond Very,  and sang quite beautifully.

The Washington Blade

 

The excellent cast included Bradley Williams as Milk’s lover Scott.

The Wall Street Journal

 

In Houston,  Bradley Williams was an ideal Scott Smith,  a hunky young activist who draws Milk out of a Wall Street closet to become a leader of men.

Andrew Porter- The London Observer

 

Of all the artists involved in Harvey Milk,  the singers portraying Harvey and his hunky young hippie lover,  Scott,  came off best.  Robert Orth’s Act I aria and the two duets with Bradley Williams as Scott are the score’s best moments,  wonderfully served by the performers.

Dallas Morning News

 

L’Italiana in Algeri - Florentine Opera

 

The excellent cast included the stylish Lindoro of fresh-voiced Bradley Williams

Opera News

 

La Donna del Lago - Lake George Opera Festival

 

As a youngish King James V in disguise,  tenor Bradley Williams tackled his Act II coloratura aria with elan and polish.

Opera News

 

Lord Snowden, would-be suitor, is passionately sung by Bradley Williams.  His command of his upper register (several high C’s and D’s) is a wonder to behold.  Always focused, always in control, his Act II duel with rival Roderick is successful both physically and vocally.

The Post-Star

 

As her suitors,  tenors Bradley Williams and Charles Workman,  as King James and Prince Roderick respectively,  come on blockbusters.  Rossini’s grueling demands for swift runs and roulades are met head-on.  It is precisely because these two roles that the opera has been in mothballs for most of it’s life.  They’re almost unsingable;  these guys go at it,  full throttle,  with amazing results.

Times Union

 


Zampa (Hérold) - Wexford Festival

 

Bradley Williams is in fine romantic support.

Cork Examiner

 

 

This role was undertaken with considerable confidence by Bradley Williams


Evening Press

 

Wexford achieved near-miracles in casting it,  since it needed four tenors,  two of them required to surmount high C’s and D flats:  John Daniecki (Zampa) and Bradley Williams (his brother Alphonse) easily encompassed the range of these parts.

The Sunday Times

 

Wexford amazingly,  found the tenors,  notably John Daniecki as a dashing Zampa and Bradley Williams as Alphonse.

The Sunday Telegraph

 

John Daniecki and Bradley Williams are powerful and true bel canto tenors.

The Guardian

 

Zampa is not easy to cast:  you need two tenors with Cs and D flats,  and two such there were - John Daniecki and Bradley Williams,  the latter an exceptionally musical singer to boot.

The  Times ( London)

 

Roméo et Juliette - Eugene Opera

 

Eugene Opera’s production of Gounod’s romantic masterpiece Roméo et Juliette  proves definitively that 19th-century French opera is alive and  well - provided that you take at least the traditional cuts and find the right tenor.... Two real heroes were evident Friday night.  On stage,  Bradley Williams is a spectacular young tenor from Texas who not only looks about 16,  he makes Roméo a believably and sympathetic young lover.  Williams also proves that the very rare True French Tenor is alive and well.  It’s partly style, partly diction and partly some gift that even the French can’t define.

The Register Guard

 

Don Pasquale - Edmonton Opera

 

Williams,  in his Canadian debut sang with a notable voice and with aplomb.

The Edmonton Sun

 

Bradley Williams sings the part of Ernesto with an amazingly pure tenor voice.

Edmonton Journal

 

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