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