Mary Elizabeth's mother has always maintained that her daughter started singing before she could talk, but that might be a slight overstatement. At any rate, Mary Elizabeth started very early because of a musical family, nurturing music
teachers in school, and a natural passion for making noise. She was very lucky to be raised in the
First Baptist Church of Philadelphia, where her first vocal coach, Jon Spong (long-time
recital accompanist to acclaimed baritone Sherrill Milnes) was the organist and choir
director. She started singing in the church choir at the age of ten, and was the only
child participant. She was probably quite annoying to all the grown-ups there, especially the
paid professionals, but Ms. Williams credits those years singing next to trained, talented singers
as one of the principal reasons she is having a career today.

Twenty years later, it's hard to judge just how all the small steps she's taken
have influenced her blossoming career; she feels very fortunate to have sung and studied
at Luther College (Decorah, IA) under the baton of Weston Noble, one of the country's
most-beloved choir directors. It was through him that she
solidified her love of text and learned how to communicate
emotion to her audience. Mary Elizabeth's year-long stint with
the Broadway touring company of ShowBoat felt like a huge
digression at the time, but she now sees that without it she never would have met her voice teacher, Dr. Constance Haas, or realized that her true passion was for opera. She went to France in 2002 out of desperation and joined the young artist program at the Opera National de Paris, because she was having trouble finding a place in America to fit in with her then immature but impressive Verdian sound. Now she realizes how lucky she was to spend two years in the City of Lights, learning and growing in one of the most respected opera houses in the world, listening to the best singers around today. She still misses all those free opera and ballet tickets she was given as a young artist... What a season it's been, though, for the young artist turned professional. Around every corner, it's seemed, a new and interesting challenge awaits Ms. Williams. The role of Leonora has gotten to be a staple these days; in 2007, Williams made her role and house debut in Trovatore with Kentucky Opera, and this fall she found herself in the same role, on the very same set, only this time on a stage in Indianapolis! The role was as fun to sing this year as it was last, and she's happy to report that she's singing Leonora again in Seattle in 2010. In October and November 2008, Ms. Williams was very proud to be a part of Michigan Opera Theatre's remounting of Margaret Garner - a recently-penned opera by composer Richard Danielpour and librettist Toni Morrison. Mary Elizabeth performed her very first Toscas this spring with Virginia Opera to rave reviews and is honored to have been asked back to Michigan Opera Theatre in 2010 to try her Tosca out in Detroit.

Mary Elizabeth feels especially lucky to report that next season (2009-10) is already looking good! Considering the economic crisis, she considers that fact a near miracle. In addition to exciting productions of Trovatore and Tosca, she's thrilled to be doing her first Aida with Atlanta Opera in the spring of 2010. It promises to be a great season.

Mary Elizabeth may still be young, but she's been around long enough to have learned this: a singer's greatest joy is singing, and she is grateful that she is given more opportunities every year to indulge herself with her passion.

Click here for more information.