as Pluto in The Other Euridice
“Douglas Williams labels himself as a bass-baritone, and the first half of that hybrid often comes to the fore in his singing, thanks to his voice’s darkness, depth and luster. Saturday night in Zilkha Hall, those sepulchral tones laid the foundation for one of Houston’s most riveting operatic portrayals in recent years.
If [Jonathan] Dove’s Pluto sounds like a man possessed, so did Williams on Saturday. The blackness of his voice’s middle and lower ranges helped conjure up Pluto’s domain—and emotional state—practically as soon as he opened his mouth, and it remained the bedrock of his portrayal.
But Williams brought the music’s every turn to life, thanks to his voice’s colors as well as his nearly infallible English enunciation.
Pluto’s words at times dripped with scorn as he described the wrongs he had suffered. When Pluto invoked his majestic domain or gave into the groundswell of his feelings, Williams’ voice resounded in Zilkha Hall—then faded into a bloodless shadow of itself when Pluto’s despair took over.
Williams’ stage presence was just as compelling, whether Pluto was spreading his arms to encompass his domain, gazing out wide-eyed as he recalled terrible sights or crumpling to the stage in heartbreak.”
TEXAS CLASSICAL REVIEW
as Don Giovanni in Don Giovanni
“Cast in Don Giovanni’s title role, bass-baritone Douglas Williams delights. Outrageously handsome, the dashing young American lead essentially devours the stage in a strikingly charismatic performance, his... high note-friendly instrument rippling with honeyed charm. Soloing on mandolin, albeit for only a few bars, Williams utterly captivates with a gently playful rendition of Mozart’s irresistible serenade, Deh, vieni aa finestra, o mio tesoro (“Oh, come to your window, my lovely”).” -OPERA GOING TORONTO
“American bass-baritone Douglas Williams returned [to Opera Atelier] to take on... Don Giovanni, singing with pleasing sound and acting with masculine swagger, exuding sex appeal and embodying the archetypal rogue.” -LUDWIG VAN TORONTO
“Given the anti-hero nature of Don Giovanni (Douglas Williams), the titular character requires a specific kind of execution to make him likeable enough to enjoy watching - and unlikeable enough to deserve his fate. Williams is on point throughout, playing the Don as both oblivious to his own shortcomings and confident enough to make the audience forget them too.”-BROADWAY WORLD
“Douglas Williams seems as if he is Giovanni incarnate, dashing and fun-loving and young enough to fear nothing.” -GLOBE AND MAIL
“...of the any Don Giovannis I’ve experienced, the present cast may be the very best I’ve ever seen. Central, of course, is the Don Giovanni of Douglas Williams, the American bass-baritone familiar from such previous OA productions the The Marriage of Figaro (2017) and Idomeneo (2019). Williams has fully embraced OA’s form of stylized acting and made it his own. He has the striking good looks of a model... and sports a powerfully expressive voice.
His Don Giovanni is much more deeply thought-through than those of other more famous singers. Williams plays the character as if his licentious lifestyle has destroyed his humanity and even destroyed his will. His Don seems no longer to act on desire but on pure reflex. Williams sings one of the faster-ever Champagne Arias ("Fin ch'han dal vino”) and even the lovely mandolin serenade “Deh, vieni alla finestra” as if more for his own pleasure than for those these songs are addressed to. Nevertheless, when the Don finally confronts the Statue of the Commendatore and willingly take his hand in full knowledge of the consequences, Williams’s voice takes on a decidedly heroic ring as if this encounter with his ultimate fate brings out the last remnants of humanity and bravery within him.” -STAGE DOOR
“Of the men, the best performance was by Douglas Williams (Don Giovanni). He excelled in Mozart’s chameleon-like role, sometimes matching Donna Elvira’s virtuosity... and at other times singing simply”-TORONTO CONCERT REVIEWS
“As Giovanni, Douglas Williams finds this balance between the perfidious rascal and the outlandish romantic. Constantly grinning with ever watchful eyes darting, Giovanni’s antics are sometimes applauded, but mostly scorned. His beautiful baritone helps to anchor the company.” -ONSTAGE BLOG
“The lead role is being sung by American bass-baritone Douglas Williams, who looked and sounded the part of a morals-flaunting seducer.” -TORONTO STAR
“Williams was a star in the title role, wholly believable as Elvira’s pathological seducer, singing with enviable harmonic capability.” -OPERA CANADA
as Figaro in Le Nozze di Figaro
“Douglas Williams' beautifully sung, irrepressibly charming Figaro” - MILWAUKEE JOURNAL SENTINEL
“…played with endearing lack of guile by American bass-baritone Douglas Williams. He sings his part with ease and spontaneity.” -THE STAR
“Douglas Williams is a lithe, kinetic Figaro who seems to throw his whole lanky frame into his vocal signature. He has a great voice, superb acting skills…Douglas Williams’ comically seamless Figaro…” -LUDWIG VAN TORONTO
“Bass-baritone Douglas Williams as Figaro has to be wily, smart (but not as smart as his fiancée Susanna) and display vocal and physical agility. Williams delivers a delightful Figaro.” -JAMES KARAS VIEWS AND REVIEWS
“a total natural to the role” -CONCERTONET
as Nick Shadow in The Rake’s Progress
“Douglas Williams is perfectly at ease in the role of the evil Nick Shadow. The style of a big shot with slicked-back hair completely suits him, and his black but brilliant tone seems made for this character. Additionally, the bass-baritone consistently gratifies us with intelligent acting and a touch of humor that makes the devil that much more sympathetic.” -FORUM OPÉRA
“Douglas Williams gives a solid Nick Shadow, the devil in person — his bass-baritone carrying a strong penetrating power.” -SÜDDEUTSCHE ZEITUNG
“Douglas Williams’ charcoal bass-baritone made for a suave Nick Shadow, playing the naive Tom like a violin.” -BACHTRACK
“Bass-baritone Douglas Williams played the role of the devil Nick Shadow powerfully and euphoniously.” -TROUW
“The voice of Douglas Williams in the role of Nick Shadow unfolds to the extent of theatre acoustics... His middle is a velvet that responds to his jacket, his line — like his top hat — are in top form, the tubular and nourished voice is that of a handsome, charming devil with a carnivorous smile.” -ÔLYRIX
“Douglas Williams as Nick Shadow was both diabolic and humorously persuasive” -OPERAWIRE
as Polyphemus in Acis and Galatea
“The Polyphemus of bass-baritone Douglas Williams was a fine blend of tonal power and physical resourcefulness.” -San Francisco Chronicle
“Douglas Williams deployed a winning stage manner and a sturdy bass-baritone that lent a gleeful tone to the villainous Polyphemus. It was impossible to resist." -Financial Times
“The best-integrated combination of singer and dancers was bass-baritone Williams, a gorgeous, villainous, and piggy Polyphemus, whose moves, which included slapping, goosing, and grabbing, were seamlessly integrated with the dancers, creating a character you love to hate." -San Francisco Classical Voice
“Mr. Williams is a lively mover, kicking the air as he first vaults onto the stage, lifted by others... Mr. Williams is also the most completely satisfying singer here." -New York Times
“The splendid bass-baritone Douglas Williams physically towers over everyone else in the cast… the hunky Williams, with rock star hair, gropes everyone, grabs his crotch, and taunts the outraged Acis by planting a big smacker on his lips.” -Huffington Post
as Raphael and Adam in The Creation
“American bass-baritone Douglas Williams’ angel Raphael set the tone; his big, dark sound is alluring, and his interpretations as both angel and Adam were spot-on.” -St. Louis Post-Dispatch