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



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.



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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