“Mark Watson Williams zeichnet Roderick als von einer inneren Unruhe Gequälten mit nervösen Ticks. Stimmlich gibt er seiner Figur mit lyrischem Tenor Profil.”
“Mark Watson Williams portrays Roderick as someone tormented by inner restlessness and nervous tics. He lends his character a distinctive voice with a lyrical tenor.”
Orpheus Magazine, The Fall of the House of Usher, March/April 2025
“Mark Watson Williams portrays Roderick as someone tormented by inner restlessness and nervous tics. He lends his character a distinctive voice with a lyrical tenor.”
Orpheus Magazine, The Fall of the House of Usher, March/April 2025
“Die Besetzung des Trios ist ausgezeichnet. Mit Bariton Brett Carter stand ein idealer William zur Verfügung, der mit Tenor Mark Watson Williams einen ebensovortrefflichen Roderick zur Seite hatte.”
“The trio's cast is excellent. Baritone Brett Carter provided an ideal William, and tenor Mark Watson Williams was equally brilliant as Roderick.”
Frankfurter Neue Presse, The Fall of the House of Usher, 28 January 2025
“The trio's cast is excellent. Baritone Brett Carter provided an ideal William, and tenor Mark Watson Williams was equally brilliant as Roderick.”
Frankfurter Neue Presse, The Fall of the House of Usher, 28 January 2025
“Carter und Williams sind nahezu ideale Interpreten der Rollen, gesanglich wie darstellerisch gleichermaßen intensiv und nachvollziehbar.”
“Carter and Williams are almost ideal interpreters of the roles, equally intense and comprehensible both vocally and in their acting.”
Opern.news, The Fall of the House of Usher, 17 February 2025
“Carter and Williams are almost ideal interpreters of the roles, equally intense and comprehensible both vocally and in their acting.”
Opern.news, The Fall of the House of Usher, 17 February 2025
“Roderick versteift sich darauf, der Arzt habe seine Schwester ermordet, und verfällt zunehmend dem Wahn eines Irren. Großes Lob an dieser Stelle an Mark Watson Williams, der nicht nur über einen dramatischen und schnörkellosen Tenor verfügte, sondern seine Rolle als unerträglicher Hypochonder und Psychopath exzellent in Szene zu setzen verstand.”
“Roderick insists that the doctor murdered his sister and increasingly descends into the delusions of a madman. High praise at this point goes to Mark Watson Williams, who not only possessed a direct and dramatic tenor, but also masterfully portrayed his role as an unbearable hypochondriac and psychopath.”
H. Boscaiolo, The Fall of the House of Usher, 15 February 2025
“Roderick insists that the doctor murdered his sister and increasingly descends into the delusions of a madman. High praise at this point goes to Mark Watson Williams, who not only possessed a direct and dramatic tenor, but also masterfully portrayed his role as an unbearable hypochondriac and psychopath.”
H. Boscaiolo, The Fall of the House of Usher, 15 February 2025
"Mark Watson Williams nimmt für Piratenazubi Frederic ein. Williams führt seinen ebenso schlanken wie flexiblen und – wenn nötig – erstaunlich kernhaften und strahlkräftigen Tenor durch eine Partie, die bis hin zu den Anforderungen der opéra comique reicht. Das französische Repertoire müsste ihm liegen."
"Mark Watson Williams assumes the role of pirate apprentice Frederic. Williams leads his tenor voice, which is as slim as it is flexible and - when necessary - surprisingly robust and radiant, through a role that extends to the requirements of the opéra comique. The French repertoire should suit him."
Concerti.de, Die Piraten von Penzance, 25 November 2023
"Mark Watson Williams assumes the role of pirate apprentice Frederic. Williams leads his tenor voice, which is as slim as it is flexible and - when necessary - surprisingly robust and radiant, through a role that extends to the requirements of the opéra comique. The French repertoire should suit him."
Concerti.de, Die Piraten von Penzance, 25 November 2023
“Mit hellem herrischen Tenor sang Mark Watson Williams den zackigen Gauleiter Meyer…”
“Mark Watson Williams sang the snappy Gauleiter Meyer with a bright, authoritative tenor.”
Opernfreund, Galen, 25 June 2022
“Mark Watson Williams sang the snappy Gauleiter Meyer with a bright, authoritative tenor.”
Opernfreund, Galen, 25 June 2022
“Auch Gregor Dalal glänzt, besonders im Zusammenspiel mit Mark Watson Williams; die beiden erinnern an manchen Stellen an die Komikerpaare der Stummfilmzeit, dann wieder führen sie sich auf wie die weisesten Verrückten.”
“Gregor Dalal also shines, especially in interactions with Mark Watson Williams; in some places the two are reminiscent of the comic partners of the silent film era, but at other times they behave like the wisest madmen.”
Choices.de, Der Mann von La Mancha, 7 March 2022
“Gregor Dalal also shines, especially in interactions with Mark Watson Williams; in some places the two are reminiscent of the comic partners of the silent film era, but at other times they behave like the wisest madmen.”
Choices.de, Der Mann von La Mancha, 7 March 2022
"Mitunter müssen sie sich sogar bremsen, damit sie nicht dröhnen in dem kleinen Theater. Dieses Sich-Zurücknehmen halten die Sopranistin Emily Fultz und der Tenor Mark Watson Williams am konsequentesten durch, ohne dabei auch nur einen Hauch an Intensität einzubüßen. In Erinnerung bleiben ihre Dalinda und sein Lurcanio."
"Occasionally they [the singers] have to even pull back so that they don’t blast into the small theater. This pulling back is sustained most consistently by the soprano Emily Fultz and the tenor Mark Watson Williams, and they do so without giving up a hint of intensity. Her Dalinda and his Lurcanio are a lasting memory."
Süddeutsche Zeitung, Ariodante, 18 February 2019
"Occasionally they [the singers] have to even pull back so that they don’t blast into the small theater. This pulling back is sustained most consistently by the soprano Emily Fultz and the tenor Mark Watson Williams, and they do so without giving up a hint of intensity. Her Dalinda and his Lurcanio are a lasting memory."
Süddeutsche Zeitung, Ariodante, 18 February 2019
"…dabei stechen ihre [Dalinda’s] Rache-Arie gegen Polinesso und die Versöhnung mit Lurcanio, eindrucksvoll interpretiert von Mark Watson Williams, besonders hervor."
"Her rage aria against Polinesso and the reconciliation with Lurcanio, impressively interpreted by Mark Watson Williams, stand out especially."
Straubinger Tagblatt, Ariodante, 21 February 2019
"Beide [Mädchen] suchen ihr Glück und wissen, dass dies das verliebte Landratssöhnchen Egon von Wildenhagen, das die Hosen runterlässt, (köstlich dargestellt von Mark Watson Williams) nicht ist."
"Both girls look for their happiness and know that the love-struck son of the district administrator, Egon von Wildenhagen, who lets his pants fall down, (delightfully portrayed by Mark Watson Williams) is not it."
Passauer Neue Presse, Der Vetter aus Dingsda, 1 October 2018
"Both girls look for their happiness and know that the love-struck son of the district administrator, Egon von Wildenhagen, who lets his pants fall down, (delightfully portrayed by Mark Watson Williams) is not it."
Passauer Neue Presse, Der Vetter aus Dingsda, 1 October 2018
" 'Bella figura' macht das Buffopaar Emily Fultz als quirlige Juliette und Mark Watson Williams als am Hungertuch nagender Künstler Armand, dessen 'Fehlgeburt der Venus', Botticelli in Tränen ausbrechen ließe. Das sich Beziehungskisten gegenseitig an den Kopf werfende Liebespaar wirbelt, dem Ideal des Tänzerisch-Zwitschernden ihres Genres entsprechend, mit prickelnder Leichtigkeit über die Bühne.”
" 'Bella figura' are the Buffo pair of Emily Fultz as feisty Juliette and Mark Watson Williams as the starving artist Armand, whose 'Miscarriage of Venus' would make Botticelli burst into tears. The insult-hurling romantic pair whirl with sparkling lightness over the stage, perfect with respect to the ideals of dancing and chirping in the genre."
Straubing Tagblatt, Der Graf von Luxemburg, 22 February 2018
" 'Bella figura' are the Buffo pair of Emily Fultz as feisty Juliette and Mark Watson Williams as the starving artist Armand, whose 'Miscarriage of Venus' would make Botticelli burst into tears. The insult-hurling romantic pair whirl with sparkling lightness over the stage, perfect with respect to the ideals of dancing and chirping in the genre."
Straubing Tagblatt, Der Graf von Luxemburg, 22 February 2018
"Mark Watson Williams, der den verarmten Maler Armand darstellt, ist ein Glücksgriff. Er hat eine tolle Bühnenpräsenz und eine schön geführte Stimme. Mit der großartigen Sopranistin Emily Fultz (Juliette) bildet er ein herrliches Buffo-Paar, das auch die hübsche Choreografie von Susanne Prasch bestens meistert."
"Mark Watson Williams, who plays the impoverished painter Armand, is a rare find. He has a great stage presence and a beautifully produced voice. With the excellent soprano Emily Fultz (Juliette) he makes a superb Buffo pair, both of whom also optimally mastered the cute choreography from Susanne Prasch."
Passauer Neue Presse, Der Graf von Luxemburg, 5 February 2018
"Mark Watson Williams, who plays the impoverished painter Armand, is a rare find. He has a great stage presence and a beautifully produced voice. With the excellent soprano Emily Fultz (Juliette) he makes a superb Buffo pair, both of whom also optimally mastered the cute choreography from Susanne Prasch."
Passauer Neue Presse, Der Graf von Luxemburg, 5 February 2018
"Mark Watson Williams überzeugt durch einen soliden Tenor und durch sein Talent als Komiker in der Rolle des schlauen Ecclitico."
"Mark Watson Williams convinces through a solid tenor and through his talent as a comedian in the role of the cunning Ecclitico."
Landshut aktuell, Die Welt auf dem Monde, 3 October 2017
"Mark Watson Williams convinces through a solid tenor and through his talent as a comedian in the role of the cunning Ecclitico."
Landshut aktuell, Die Welt auf dem Monde, 3 October 2017
"Mit Bravour haben die neuen Kräfte am Haus ihren Einstand gegeben: Mark Watson Williams ist nicht nur ein grundsolider Tenor, sondern hat ein überschäumendes darstellerisches und tänzerisches Talent. Er eroberte die Publikumsherzen sofort als Drahtzieher Ecclitico, der weiß, wie man den zukünftigen Schwiegervater um den Finger wickelt und ums Ohr haut."
"With bravery have the new forces in the house given their debuts: Mark Watson Williams is not only a rock-solid tenor, but also has an effervescent acting and dancing talent. He captured the hearts of the audience right away as the mastermind Ecclitico, who knows how to wrap his future father-in-law around his finger and fool him."
Passauer Neue Presse, Die Welt auf dem Monde, 25 September 2017
"With bravery have the new forces in the house given their debuts: Mark Watson Williams is not only a rock-solid tenor, but also has an effervescent acting and dancing talent. He captured the hearts of the audience right away as the mastermind Ecclitico, who knows how to wrap his future father-in-law around his finger and fool him."
Passauer Neue Presse, Die Welt auf dem Monde, 25 September 2017
"Rossinis Opernlibretto besitzt viele virtuose Schnellsprechstellen, die wirklich nur Italienisch funktionieren und Mark Williams (Ramiro) meistert diese Stellen brillant. Als Don Ramiro besticht er durch Präzision und Humor. Er ist wie ein süffiger prickelnder Champagner, handgerüttelt und sorgsam serviert."
"Rossini's opera libretto has many virtuosic fast-paced passages which really work only in Italian, and Mark Williams (Ramiro) masters these places brilliantly. As Don Ramiro he impresses with precision and humor. He is like a smooth sparkling champagne, hand-shaken and carefully served."
Online Merkur, La Cenerentola, February 2017
"Rossini's opera libretto has many virtuosic fast-paced passages which really work only in Italian, and Mark Williams (Ramiro) masters these places brilliantly. As Don Ramiro he impresses with precision and humor. He is like a smooth sparkling champagne, hand-shaken and carefully served."
Online Merkur, La Cenerentola, February 2017
"The newcomer, tenor Mark Williams, as John Gay, delivered the shepherd Coridon's aria with almost startling sweetness. That aria — "Would you gain the tender creature" — was the production’s momentarily unadorned heart, Gay comforting Pope with the work's overarching philosophy: 'Suff'ring is the Lover's part.' "
The Boston Globe, Acis and Galatea, 1 December 2015
The Boston Globe, Acis and Galatea, 1 December 2015