Mary Elizabeth Williams - Soprano

"There was plenty of fine singing and acting, too, especially from soprano Mary Elizabeth Williams in the title role...A newcomer who deserves a wider reputation, Williams showed tremendous poise as Tosca, entering as the wide-eyed jealous lover but never resorting to histrionics. She responded with both the fury of a caged animal and the grace of an angel to her no-win predicament. She sang with a rich and creamy voice, a sure sense of the lyric line and exquisitely judged dynamics, especially in a memorable "Vissi d'Arte."" ~ Detroit Free Press

"As the beautiful but jealous opera diva Floria Tosca, caught in the trap of Scarpia's lust and power, Williams displayed an infectious blend of grace and temperament. The image of flaming lovers was quickly emblazoned in her feisty Act I confrontation with Palombi's Cavaradossi, as the dark-eyed Tosca chided the artist for painting Mary Magdalene's eyes blue. Vocally, Williams shone in that emotionally turbulent scene, just as she did in Tosca's Act II clash with Scarpia as he pressed his bargain of Cavaradossi's life in exchange for possessing her." ~ Detroit News

"At the Sunday matinee, the young Mary Elizabeth Williams was scarcely less impressive. With an even bigger, richer middle voice, Williams delivered an equally impassioned Leonora. Both sopranos excelled in spinning out a perfectly seamless Verdian line." ~ Seattle Gay News

"The Leonora of this cast, sung with impressive volume by Mary Elizabeth Williams, was a female force to be reckoned with." ~ The Seattle Times

"Williams has enormous potential as her Leonora demonstrated on Sunday afternoon. Her voice has weight but is intensely lyrical. It is also warm and rounded. She has a beautiful line, finesse and an arsenal of colors which she uses with great discretion. Her phrases are seamlessly blended with an array of dynamics. For someone so young and inexperienced, Williams' gifts are striking." ~ www.gatheringnote.org

"Mary Elizabeth Williams sang a somewhat leaner Leonora of great consistency and clarity, the tone more forwardly produced, with a secure top in "D'amor sull' ali rosee" and haunting low notes in the "Miserere." Williams seemed to be Leonora; all she did seemed to emanate from within, free of emoting or "acting."" ~ Opera News

"she blew the Harrison Opera House audience away with her dynamic, expressive instrument, creating a tremendous emotional appeal for her character seemingly without effort." ~ Washington Times, Tosca (Tosca), February 2009

"...the highlight of the evening...someone worth keeping an eye, or ear, on in the future." ~ Washington Post, Tosca (Tosca), February 2009

"There was something in the vibrancy and warmth of the sound, something in the vitality of the phrasing, that immediately hit home... the night belonged to Mary Elizabeth Williams." ~ Baltimore Sun, Tosca (Tosca), February 2009