© Copyright All RIghts Reserved William Watson 2014
As Eumete in Monteverdi’s
The Return of Ulysses
(with Boston Baroque)
... several excellent tenors ... and with handsome baritonal resonance,
William Watson, whose statuss as the swineherd Eumete was
announced by black jeans and brown suede shoes.
-The Boston Globe
As Apollo in Monteverdi’s Orfeo
(with Brooklyn Acadaemy of Music)
Outstanding in the cast, William Watson was a fine Apollo, exquisite
in tone and decoration.
-The New York Times
As the Evangelist in Bach’s St. John Passion
(with the Kitchener Waterloo Symphony and
Philharmonic Choir)
But there is no doubt that the St. John Passion hinges on the part of the
Evangelist, and William Watson performed a tour de force interpretation.
Possessing an ethereal voice which borders on the sound and range of a
counter-tenor (though he never uses a falsetto), Watson was the lynchpin
of this performance. The voice is so arresting, the delivery so compelling, it
mesmerized the audience.
-The Record
As Soloist in Bach’s Christmas Oratorio
(with Chicago’s Music of the Baroque)
William Watson was the standout. His brilliant command of the runs in
‘Frohe Hirten’ are things we should hear more often in New York.
-The New York Times
As Hyllus in Handel’s Hercules
(with Chicago’s Music of the Baroque)
William Watson’s clear, forceful, ringing tenor sounded like the ideal
instrument for Hyllus, the devoted son.
-Chicago Tribune
As Soloist in Handel’s L’Allegro
(with Chicago’s Music of the Baroque)
The evening had another superb soloist in tenor William Watson who
brought a level of expressiveness to this music one more often associated
with a later repertoire. It was an intriguing and welcome point of view.
-Chicago Tribune
As Soloist in Mozart’s Requiem
(with Chicago’s Music of the Baroque)
William Watson sang excellentlyl the focus and sweetness of his tenor
was ideal.
-Chicago Tribune
As Soloist in Vaughn Williams’ Hodie
(with the Dayton Symphony)
Tenor William Watson was exquisite as the voice of the angel visiting
Mary and later the shepherds.
-Dayton Daily News
As Soloist in Rachmaninoff’s All-Night Vigil
(with the Grant Park Chorus)
Tenor William Watson sounded ardent and radiant in brief solos.
-Chicago Tribune
As Soloist in Handel’s Messiah
(with the Illinois Chamber Orchestra)
Tenor William Watson had a beautiful spin to his voice.
-The State Journal
As the Evangelist in Bach’s St. Matthew
Passion
(with the Kitchener Waterloo Symphony and
Philharmonic Choir)
William Watson proved technically and dramatically superlative, among
the great Evangelists we have ever heard (and that’s a lot by this time.)
-University of Waterloo Gazette
For the demanding role - called Evangelist in the passion oratorio
tradition - conductor Howard Dyck secured the exemplary services of
american tenor William Watson whose first Philharmonic appearance on
Friday was alos his Canadian debut. Simply put, Watson lived and
breathed every word of his lengthy recitative segments with such
immediancy of feeling and effortless tonal polish that there was no
opportunity for one’s attention to wander.
-The Record
William Watson - Tenor