REVIEWS
As Lady Macbeth, Mari Wyn Williams blazed over the small chorus (which sounded as formidable as WNO’s) with a voice like a searchlight, and ‘La luce langue’ was every bit the show-stopper it should be
- Richard Bratby, The Spectator
This is an opera that stands or falls more than most on the quality of the two main principals, and in Bouton and the Welsh soprano Mari Wyn Williams who sang Lady Macbeth, MWO struck gold; both were more than equal to the vocal and theatrical challenges of their dramatic soliloquies and duets.
Bouton vividly depicted Macbeth’s swings from confidence to collapse and Wyn Williams, commanding the stage, struck a perfect balance between virtuosic, well-pitched coloratura and the raw sound that Verdi apparently wanted from his soprano.
- Claire Stevens, Opera Now March 2024
Kensington Symphony Orchestra, Peter Grimes, 2023
The second act quartet ‘From The Gutter’ was luminous. Auntie and her nieces gave sensitive support to the Silver Toned, Dramatically Engaged Mari Wyn Williams, whose Ellen Orford was the interpretive performance of the Evening. There was no boy apprentice in the QEH, but she did a great job of conjuring one up. The Welsh Soprano deserves to grace a staged professional production in this role, and soon
- Mark Valencia, Opera Magazine, March
Longborough Festival Opera, Gotterdammerung, 2023
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson were exceptional as Rhinemaidens, capturing to perfection both the enchanting and subtly sinister aspects required for the roles.
- Tony McKormack (Great British life)
I will not single out any of the Norns (Mae Heydorn, Harriet Williams, Katie Lowe) or Rhinemaidens (Mari Wyn Williams, Rebecca Afonwy-Jones, Katie Stevenson) because I cannot remember better trios.
- Jim Pritchard (Seen and heard international)
Three seductive Rhinemaidens show off their gorgeous voices and glittering frocks,
- Amanda Holloway - The Stage
Rhinemaidens Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson sang in such close sympathy they might have been full-time trios.
- Colin Davison (British theatre guide)
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson bring total class to the roles of Woglinde, Wellgunde and Flosshilde respectively
- Sam Smith (Music OMH)
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson) in Emma Ryott’s decorative costumes make the most of their alluring music.
-Nicholas Kenyon (The Telegraph)
Plaudits to the Excellent trios of Norns and Rhinemaidens
- Jessica Duchen (iNews)
The Norns and Rhinemaidens are almost luxury casting given the pedigree of some individuals
- Roy Westbrook - BachTrack
But with a team of charismatic, roof-raising Rhinemaidens, this was a hugely enjoyable evening.
Characters are delineated very well so that the Rhinemaidens (Mari Wyn Williams as Woglinde, Rebecca Afonwy-Jones as Wellgunde and Katie Stevenson as Flosshilde) convey a strong combination of elegance, allure, playfulness and cruelty.
A strong trio of Rhinemaidens (Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson) cavort in an earthbound sort of way on the river-bed.
The frolicking Rhinemaidens, must be praised for their vocal agility.
The excellent trio of Rhinemaidens make you realise how skilfully Anthony Negus, with an orchestra of around sixty-five players, manages to both illuminate the detail of Wagner’s scoring without detracting from its overall impact
There were three alluring sounding Rhinemaidens
The Rhinemaidens sang beautifully
The three winsome Rhinemaidens - Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson - whose singing stood out from their schoolgirl cavorting.
Together with Folwell’s Klingsor, McKrill’s Kundry, the flower maidens and the orchestral playing it all helped to make this the best single act I have seen and heard from Saffron Opera Group.
While the amplitude of Mari Wyn Williams as Inez suggested a Leonora in Waiting.
Welsh Soprano Mari Wyn Williams made an attractive presence, desirable showing, and nicely contrasted adviser. Verdi dispenses with her later on, and that seemed a pity. She deserved more.
As Floria Tosca herself, Welsh soprano Mari Wyn Williams gave a highly charged performance – a big voice which she used to particularly good effect in those scenes (of which there are many) which called for the greatest passion. The murder of Scarpia toward the conclusion of Act II for example was executed with real venom and loathing
Tosca, performed by Mari Wyn Williams, shifts from jealousy to zealous indignation as she casts her mournful cries despairingly over her dead lover’s body.
Mari Wyn Williams’ gives a powerful, impressive vocal performance as Tosca, and her relationship with Robyn Lyn Evans in Act I flickers playfully like the candles all around them. She’s undoubtedly a diva, but there’s also an endearing naivety to her Tosca: her final scene, sung from behind the bars as she waits for the firing squad to advance on Cavaradossi, has a touching innocence that turns to tragedy when she realises she’s been fooled.
Opera project @ Tobacco factory theatre
Mari Wyn Williams as Floria Tosca, the object of love and dangerous desire, has warmth of tone well suited to the production. At the same time she exhibits the strength of character of someone who, whilst she lives for her art and love, (as described in the beautifully sung aria, ‘I lived for art’) is yet capable of murder in defence of her honour.
Opera project @ Tobacco factory theatre
Mari Wyn Williams chose a very well structured programme, gradually strengthening her voice from the comparatively lightweight "Einsam in trüben Tagen" through "Der Engel" to the final outpouring of "Du bist der Lenz." Her Elsa, secure, silvery, passionate, lived out her dream, Senta-like, her eyes widening as she beheld Lohengrin in the second verse. The Wesendonck Lied soared Heavenwards, and Sieglinde's aria was a perfect marriage of voice and music. She reminds me of a young Karita Mattila, which can be no bad thing.
Of my cast Mari Wyn Williams showed off some pearly high notes.
Mari Wyn Williams, a sparky young Brunnhilde, carried her sweeping lines on warm, vibrant tone.
“Hilda” gets the winsome Welsh wench treatment from Mari Wyn Williams, who doubles a Rhine maiden alongside a nicely-sung Brünnhilde, her performance full of warm detailing and engaging energy, often the heart of this production
Mari Wyn Williams as Hilda/ Brunhilda carries the load of much of the narration with charm and a lovely lyrical north Welsh accent, and she sings with real Wagnerian flair. I realised what a fine achievement this show is when I found myself in tears during the great duet from the end of Valkyrie as Wotan bids farewell to his beloved daughter, Brunhilda. Thorpe and Williams sing this sublime duet with real power and passion
His ability to move effortlessly between comedy and drama is matched by Mari Wyn Williams, who sings heartily and also skilfully balances the burden of conflicting loyalties to Wotan and Siegmund with the banter back at the café.
I saw a very creditable Brunhilde from Mari Wyn Williams
Mari Wyn Williams, who keeps the audience engaged and entertained with her bright first-level character Hilda, sings the part of Valkyrie Brünnhilde with energy and emotion
Mari Wyn Williams is at all times an engaging and surprisingly vulnerable Brunnhilde
for the most part the performances of Wagner’s arias – sung in English, in a translation by Andrew Porter – are played with absolute seriousness. Nowhere is this more apparent than in Mari Wyn Williams’ Hilda, whose interpretation of Brünnhilde is suffused with confidence, delicacy and love.
Mari Wyn Williams showed huge amplitude sound and outstanding vocal talents to dramatic roles
'Mari Wyn Williams mostró amplitud sonora destacada y enormes dotes vocales para papeles dramáticos
'Mari Wyn Williams already dramatically engaging and vocally positive Wagnerian technique’
'Llanberis' Mari Win Williams, who sang at the closing concert at the National Eisteddfod singing a new work by Robart Arwyn alongside Bryn Terfel, excelled'.
'Mari Wyn Williams was brilliantly cast as Lady Macbeth, Her powerful bright voice could cut steel on a cold day, and she left us in no doubt as to who was in charge whenever she was on stage'
Sizzling on-stage chemistry between Abate and Wyn Williams ensures all the love scenes are on fire; the constant contrast between Giorgetta’s passion for Luigi, and her coldness towards Michele, comes across with great pathos. Mari Wyn Williams is an affecting Giorgetta, who finds that “It’s so difficult to be happy;” as her unresolved grief eats away at her, Wyn Williams conveys a woman whose life and emotions are in freefall. Abate and Wyn Williams also make an attractive pairing as the hippy couple Gherardo and Nella Donati in Gianni Schicchi.
This is an opera that stands or falls more than most on the quality of the two main principals, and in Bouton and the Welsh soprano Mari Wyn Williams who sang Lady Macbeth, MWO struck gold; both were more than equal to the vocal and theatrical challenges of their dramatic soliloquies and duets.
Bouton vividly depicted Macbeth’s swings from confidence to collapse and Wyn Williams, commanding the stage, struck a perfect balance between virtuosic, well-pitched coloratura and the raw sound that Verdi apparently wanted from his soprano.
- claire Stevens, opera now
As Lady Macbeth, Mari Wyn Williams blazed over the small chorus (which sounded as formidable as WNO’s) with a voice like a searchlight, and ‘La luce langue’ was every bit the show-stopper it should be
- Richard Bratby, The Spectator
This is an opera that stands or falls more than most on the quality of the two main principals, and in Bouton and the Welsh soprano Mari Wyn Williams who sang Lady Macbeth, MWO struck gold; both were more than equal to the vocal and theatrical challenges of their dramatic soliloquies and duets.
Bouton vividly depicted Macbeth’s swings from confidence to collapse and Wyn Williams, commanding the stage, struck a perfect balance between virtuosic, well-pitched coloratura and the raw sound that Verdi apparently wanted from his soprano.
- Claire Stevens, Opera Now March 2024
Kensington Symphony Orchestra, Peter Grimes, 2023
The second act quartet ‘From The Gutter’ was luminous. Auntie and her nieces gave sensitive support to the Silver Toned, Dramatically Engaged Mari Wyn Williams, whose Ellen Orford was the interpretive performance of the Evening. There was no boy apprentice in the QEH, but she did a great job of conjuring one up. The Welsh Soprano deserves to grace a staged professional production in this role, and soon
- Mark Valencia, Opera Magazine, March
Longborough Festival Opera, Gotterdammerung, 2023
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson were exceptional as Rhinemaidens, capturing to perfection both the enchanting and subtly sinister aspects required for the roles.
- Tony McKormack (Great British life)
I will not single out any of the Norns (Mae Heydorn, Harriet Williams, Katie Lowe) or Rhinemaidens (Mari Wyn Williams, Rebecca Afonwy-Jones, Katie Stevenson) because I cannot remember better trios.
- Jim Pritchard (Seen and heard international)
Three seductive Rhinemaidens show off their gorgeous voices and glittering frocks,
- Amanda Holloway - The Stage
Rhinemaidens Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson sang in such close sympathy they might have been full-time trios.
- Colin Davison (British theatre guide)
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson bring total class to the roles of Woglinde, Wellgunde and Flosshilde respectively
- Sam Smith (Music OMH)
Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson) in Emma Ryott’s decorative costumes make the most of their alluring music.
-Nicholas Kenyon (The Telegraph)
Plaudits to the Excellent trios of Norns and Rhinemaidens
- Jessica Duchen (iNews)
The Norns and Rhinemaidens are almost luxury casting given the pedigree of some individuals
- Roy Westbrook - BachTrack
But with a team of charismatic, roof-raising Rhinemaidens, this was a hugely enjoyable evening.
- David Mellor – The Daily Mail
Characters are delineated very well so that the Rhinemaidens (Mari Wyn Williams as Woglinde, Rebecca Afonwy-Jones as Wellgunde and Katie Stevenson as Flosshilde) convey a strong combination of elegance, allure, playfulness and cruelty.
- Sam Smith – MusicOMH
A strong trio of Rhinemaidens (Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson) cavort in an earthbound sort of way on the river-bed.
- Stephen Walsh – The Arts Desk
The frolicking Rhinemaidens, must be praised for their vocal agility.
- Inge Kjemtrup- The Stage
The excellent trio of Rhinemaidens make you realise how skilfully Anthony Negus, with an orchestra of around sixty-five players, manages to both illuminate the detail of Wagner’s scoring without detracting from its overall impact
- Peter Reed – Classical Source
There were three alluring sounding Rhinemaidens
- Jim Pritchard – Seen and Heard International
The Rhinemaidens sang beautifully
- Mel Cooper – Plays to See.
The three winsome Rhinemaidens - Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson - whose singing stood out from their schoolgirl cavorting.
- David Truslove – Opera Today
Together with Folwell’s Klingsor, McKrill’s Kundry, the flower maidens and the orchestral playing it all helped to make this the best single act I have seen and heard from Saffron Opera Group.
- Jim Pritchard - Seen and Heard (Saffron Opera Group 'Parsifal'
While the amplitude of Mari Wyn Williams as Inez suggested a Leonora in Waiting.
- Yehuda Shapiro - Opera Magazine September 2018 (Inez, Winslow Hall Opera 2018)
Welsh Soprano Mari Wyn Williams made an attractive presence, desirable showing, and nicely contrasted adviser. Verdi dispenses with her later on, and that seemed a pity. She deserved more.
- Roderic Dunnett – Music and Vision Daily (Inez, Winslow Hall Opera 2018)
As Floria Tosca herself, Welsh soprano Mari Wyn Williams gave a highly charged performance – a big voice which she used to particularly good effect in those scenes (of which there are many) which called for the greatest passion. The murder of Scarpia toward the conclusion of Act II for example was executed with real venom and loathing
- The fine times recorder
Tosca, performed by Mari Wyn Williams, shifts from jealousy to zealous indignation as she casts her mournful cries despairingly over her dead lover’s body.
- Olivia Rutherford - I:M magazine
Mari Wyn Williams’ gives a powerful, impressive vocal performance as Tosca, and her relationship with Robyn Lyn Evans in Act I flickers playfully like the candles all around them. She’s undoubtedly a diva, but there’s also an endearing naivety to her Tosca: her final scene, sung from behind the bars as she waits for the firing squad to advance on Cavaradossi, has a touching innocence that turns to tragedy when she realises she’s been fooled.
Opera project @ Tobacco factory theatre
- Leah Tozer - The Reviews Hub
Mari Wyn Williams as Floria Tosca, the object of love and dangerous desire, has warmth of tone well suited to the production. At the same time she exhibits the strength of character of someone who, whilst she lives for her art and love, (as described in the beautifully sung aria, ‘I lived for art’) is yet capable of murder in defence of her honour.
Opera project @ Tobacco factory theatre
- Graham Wyles - Stage talk magazine
Mari Wyn Williams chose a very well structured programme, gradually strengthening her voice from the comparatively lightweight "Einsam in trüben Tagen" through "Der Engel" to the final outpouring of "Du bist der Lenz." Her Elsa, secure, silvery, passionate, lived out her dream, Senta-like, her eyes widening as she beheld Lohengrin in the second verse. The Wesendonck Lied soared Heavenwards, and Sieglinde's aria was a perfect marriage of voice and music. She reminds me of a young Karita Mattila, which can be no bad thing.
- The Wagner Journal - Katie Barnes, Feb 2016
Of my cast Mari Wyn Williams showed off some pearly high notes.
- Neil Fisher, The Times
Mari Wyn Williams, a sparky young Brunnhilde, carried her sweeping lines on warm, vibrant tone.
- Yehudi Shapiro, Opera Magazine April 2016
“Hilda” gets the winsome Welsh wench treatment from Mari Wyn Williams, who doubles a Rhine maiden alongside a nicely-sung Brünnhilde, her performance full of warm detailing and engaging energy, often the heart of this production
- Charlotte Valori, Operosissima
Mari Wyn Williams as Hilda/ Brunhilda carries the load of much of the narration with charm and a lovely lyrical north Welsh accent, and she sings with real Wagnerian flair. I realised what a fine achievement this show is when I found myself in tears during the great duet from the end of Valkyrie as Wotan bids farewell to his beloved daughter, Brunhilda. Thorpe and Williams sing this sublime duet with real power and passion
- Owen Davies. Plays to see
His ability to move effortlessly between comedy and drama is matched by Mari Wyn Williams, who sings heartily and also skilfully balances the burden of conflicting loyalties to Wotan and Siegmund with the banter back at the café.
- Edward Bhesania - The Stage
I saw a very creditable Brunhilde from Mari Wyn Williams
- Howard Loxton, Brittish theatre Guide
Mari Wyn Williams, who keeps the audience engaged and entertained with her bright first-level character Hilda, sings the part of Valkyrie Brünnhilde with energy and emotion
- Andrea White, Bargain Theatre Land
Mari Wyn Williams is at all times an engaging and surprisingly vulnerable Brunnhilde
- Marian Kennedy, London Theatre 1
for the most part the performances of Wagner’s arias – sung in English, in a translation by Andrew Porter – are played with absolute seriousness. Nowhere is this more apparent than in Mari Wyn Williams’ Hilda, whose interpretation of Brünnhilde is suffused with confidence, delicacy and love.
- Scott Matthewman, The Reviews Hub
Mari Wyn Williams showed huge amplitude sound and outstanding vocal talents to dramatic roles
'Mari Wyn Williams mostró amplitud sonora destacada y enormes dotes vocales para papeles dramáticos
- Luis Alsonso Bes Heraldo de Aragon, Zaragoza.
'Mari Wyn Williams already dramatically engaging and vocally positive Wagnerian technique’
- Mike Smith, Wales Online
'Llanberis' Mari Win Williams, who sang at the closing concert at the National Eisteddfod singing a new work by Robart Arwyn alongside Bryn Terfel, excelled'.
- David Powell, Daily Post
'Mari Wyn Williams was brilliantly cast as Lady Macbeth, Her powerful bright voice could cut steel on a cold day, and she left us in no doubt as to who was in charge whenever she was on stage'
- Wayne Bennett
Sizzling on-stage chemistry between Abate and Wyn Williams ensures all the love scenes are on fire; the constant contrast between Giorgetta’s passion for Luigi, and her coldness towards Michele, comes across with great pathos. Mari Wyn Williams is an affecting Giorgetta, who finds that “It’s so difficult to be happy;” as her unresolved grief eats away at her, Wyn Williams conveys a woman whose life and emotions are in freefall. Abate and Wyn Williams also make an attractive pairing as the hippy couple Gherardo and Nella Donati in Gianni Schicchi.
- operissimawhispers / March 23, 2015, Tabarro and Gianni Schicci, Fulham Opera
This is an opera that stands or falls more than most on the quality of the two main principals, and in Bouton and the Welsh soprano Mari Wyn Williams who sang Lady Macbeth, MWO struck gold; both were more than equal to the vocal and theatrical challenges of their dramatic soliloquies and duets.
Bouton vividly depicted Macbeth’s swings from confidence to collapse and Wyn Williams, commanding the stage, struck a perfect balance between virtuosic, well-pitched coloratura and the raw sound that Verdi apparently wanted from his soprano.
- claire Stevens, opera now
