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