“Last
but hardly least is Dean Williamson, who conducted with customary
intelligence and flourish. For a dozen years, the conductor was on the
musical staff of the company as its principal coach and pianist, and for
five years, the founding music director of its Young Artists Program. He is
now a freelance conductor with a burgeoning career.
"Hoffmann" represents his main-stage debut with his old company.
He was more than equal to the task, sympathetic to singers but not indulging
them. Likewise, he elicited verve, shapely phrasing and a cohesive approach
from his orchestra.”
Seattle Post-Intelligencer
Les Contes
d’Hoffmann (Seattle Opera main stage)
“One
sign of a really excellent opera production is that you're not conscious of
the singing and the acting as separate entities: Instead, the music and
drama meld into one beautiful whole… Dean Williamson's conducting, both
steady and impassioned, was a major factor in the production's success.”
The Seattle Times
Les Contes
d’Hoffmann (Seattle Opera main stage)
“Dean
Williamson’s musical direction, deft and sure, made the magic of this
production even more enchanting.”
Opera News
Les Contes
d’Hoffmann (Seattle Opera main stage)
“Dean
Williamson’s conducting balanced the drama and comedy in the score,
keeping the singers and the orchestra light on their feet.”
The Queen Anne News
Les Contes
d’Hoffmann (Seattle Opera main stage)
“Much
of the success belonged to Dean Williamson, who was making his company debut
as conductor. His Offenbach had
a much-appreciated Mozartian litheness and clarity.
The cast did not always share Williamson’s disciplined
approach—often a singer’ indulgent rallentando disrupted the flow in the
pit—but for the most part this Hoffmann never lost its graceful Opéra-Comique
charm. Under Williamson’s refined leadership Vinson Cole proved a
beguiling Hoffmann, visionary and vulnerable throughout but with enough
sensuousness to give “O Dieu, de quelle ivresse” its needed passion.”
Opera
(London)
Les
Contes d’Hoffmann (Seattle Opera main stage)
“A
major contribution to the success of this production comes from conductor
Dean Williamson, who gave an expert reading of the score.”
The Everett Herald
Les Contes
d’Hoffmann (Seattle Opera main stage)
“Space
limits my going into lengthy praise for the conducting of Dean Williamson
who made his main stage debut with these performances…He inspired all in
this glorious music, providing ideal tempi and a buoyant French lyricism,
while never covering the singers.”
The Seattle Gay
News
Les Contes
d’Hoffmann (Seattle Opera main stage)
“Dean
Williamson, a prime mover with the Young Artists program since its inception
who has conducted every production, directed the orchestra with a sure, deft
hand. He supported the singers and paced the music so that it sparkled
and progressed with a sprightly momentum. His direction here says much
for how he will conduct Offenbach’s
“The Tales of Hoffmann” for Seattle Opera next month, his main-stage
debut there.”
Seattle
Post-Intelligencer
Le nozze di Figaro
(2005 Seattle YAP)
“Conducted
by…Dean Williamson, the WNO Orchestra accompanied the singers with feeling
and precision, even on a steamy Virginia evening…”
The
Washington Times
La
Cenerentola (2005 Wolf Trap Opera)
“Except
for the lack of scenery, the performance of Rossini's "La Cenerentola"
was exemplary Saturday night at Wolf Trap. The music, well controlled
by conductor Dean Williamson, ranks with Rossini's finest.”
The Washington Post
La Cenerentola
(2005 Wolf Trap Opera)
“Conductor
Dean Williamson led a forward-pressing performance that was never
hard-pressed, and he had just he right knack for subtle tempo relaxation
that wonderfully benefited the lyric moments in the score.”
The Chautauquan Daily
Madama Butterfly
“Guest conductor Dean Williamson, formerly Seattle
Opera’s peerless coach/pianist, made an excellent impression in this opera-heavy program of
arias, overtures and other excerpts. He
knows how to anticipate Vaness’ every breath and exactly where every phrase is
going. Williamson knows how to make
this music work. The orchestra sounded
sumptuously symphonic with added winds, celeste, harp and plenty more in
Respighi’s “Trittico Botticelliano.” Williamson drew impassioned playing in Puccini’s “I Crisantemi”; here is
a conductor who understands Puccini.”
The Seattle Times
Northwest
Chamber Orchestra
“Judging by the response to the orchestra’s first
mainstage concert Saturday night at Nordstrom Recital Hall, the presentation of name singers will
be a smashing success, and Williamson a valuable addition to the conducting
roster. Soprano Carol Vaness entranced
the audience in arias by Mozart’s “The Marriage of Figaro” and
“Idomeneo,” Rossini’s “William Tell”, and Verdi’s “La
Traviata.” Williamson, conducting, kept the orchestra in close support. The orchestra acquitted itself well in this
highly varied program, sounding more subtle in its phrasing than it has for
some time, and with much more toning down of the harsh, unlovely sound this
hall makes of any loud, high string playing…the Rossini was light, clean, crisp
and bright, just as is should be; the Respighi lush and verdant; and the Verdi
Prelude to Vaness’ aria pristine, with a shimmering quality. The audience responded with cheers.”
Seattle Post-Intelligencer
Northwest
Chamber Orchestra
“Providing superb support for the singers as
he leads a pit orchestra of Colorado Symphony musicians is conductor Dean
Williamson, who obtains the maximum effect from each scene and beautifully
showcases Mozart’s masterful score.”
The
Denver Post
Don
Giovanni
“To
conclude its 2003 season, the Wolf Trap Opera Company has produced a brilliantly
directed, beautifully sung and endlessly funny Barber of Seville, in which its
young performers show as much acting as singing skill.
A final performance tonight in the Filene Center should play to a
capacity audience. Each of the
participants has a turn in the spotlight, including the orchestra, which played
the sparkling overture and the vivid storm music with grace and color under the
expert baton of Dean Williamson.”
The Washington Post
Il
barbiere di Siviglia
“Stylish Barber…This sprightly Barber was just the antidote for what
has proved to be an oppressively steamy August...The music, always a treat,
sparkled under the baton of conductor Dean Williamson.”
The Washington Times
Il
barbiere di Siviglia
“Many
scenes conclude with Chekhovian quietude (audiences don't always know how to
cope with that) until the finale, which devolves into verismo-style
emotionalism…For that, I thank conductor Dean Williamson…(the orchestra)
delivered the necessary musico-dramatic goods.
The Philadelphia Inquirer
Eugene
Onegin
“This
was, simply put, a magnificent production.
A beautifully appropriate cast combined with conductor Dean
Williamson’s sensitive conducting to make this score’s melodies linger
deeply in one’s memory.”
Home News Tribune
Eugene Onegin
“In
the pit, conductor Dean Williamson was in top form.
Nuance abounded without mannerism.
He was in charge, yet let the singers have their moments to hold a high
note or two or be flexibly expressive. The
orchestra was, of course, small; where could one put more players? But with the exception of the grand ball in Prince Gremin’s
palace, where one missed the lush string sound, the size was perfect for
opera. Indeed, it was a reminder
of Tchaikovsky’s love of Mozart. While
the whole orchestra was excellent, the horn solos…were superb all evening.
Society Journal
Eugene
Onegin
“At
the Opera Festival of New Jersey…it enjoys a fine treatment at the hands of
conductor Dean Williamson and the Philadelphia Chamber Orchestra.”
The Times (Trenton)
Eugene
Onegin
“Within
the opening overture, the orchestra, conducted by Dean Williamson, set the
mood for something somber…The orchestra played with a different sound than
for L’Italiana—full of richness and dark color, rather than a light and
airy style…Williamson kept an even musical flow throughout the opera, and a
number of instrumental solos were commendable.
Town
Topics (Princeton)
Eugene
Onegin
“Williamson
runs a tight ship in the orchestra pit. Entrances
and cut-offs are clean and crisp, and the balance between singers and the
instrumentalists is strong throughout. His
attention to detail and artistic nuance makes for a seamless performance.
Besides supporting the on-stage performers, the orchestra brings to
life the melodic writing and dramatic harmonies for which Puccini is famous,
and they do it admirably.”
Tri-city Herald
La
bohème
“Certainly, Williamson lends a steady hand at the enterprise. …He knows voices and must be a beacon of empathy for the young and inexperienced.
But he does not indulge them. Williamson likes to keep things moving, and so in “Bohème” he took some
brisk tempos. But his ability to
shape a phrase and allow the music to unfold are always present."
Seattle Post-Intelligence
La bohème
“Williamson
led the singers and the orchestra (members of the fine Auburn Symphony) in a
flexible, swift-moving performance that supported the cast admirably.”
The Seattle Times
La bohème
“The
design team has created a smart, colorful, comedy-friendly environment for the
action, and conductor Dean Williamson leads his small orchestra with a real
feeling for the score's bubbling high spirits.”
The Washington Post
Don
Pasquale
“Dean Williamson, music director and conductor of
the program, presided in the pit. His
caring for singers was readily apparent. They were safe with him. Yet, he did not indulge their every
whim. Tempos were fast and shapely, and
it was up to the performers to keep the pace.
Indeed, his reading of Cenerentola was sprightly Rossini—light and airy
and buoyant. It is not surprising
Seattle Opera is expected to sign a contract for a mainstage performance with
Williamson…”
Seattle Post-Intelligencer
La
Cenerentola
“Seattle Opera’s Young Artists Program is so young
that it is barely out of diapers. Yet
it has matured into a program of genuine worth for young singers and provides
excellent opera in a small setting…The third production in the program’s
history was this weekend. Mozart was
again front and center, this time with “Don Giovanni.” Pleasures were abundant on Saturday night
with the first of two casts…In the pit, as usual, was Dean Williamson, who acts
as co-director of the program. He has
Mozart in a firm grip and knows how to blend his orchestral forces (the Auburn
Symphony in this case) with those on stage.
Everyone paid attention to everyone else, with Williamson in the
middle. It is not surprising that he
left the safe harbor of Seattle Opera as its principal coach and accompanist to
try his hand at free-lance conducting.
The young man has aptitude, talent, and knowledge to back him.”
Seattle Post-Intelligencer
Don
Giovanni
“The design team has created a smart, colorful,
comedy-friendly environment for the action, and conductor Dean Williamson leads
his small orchestra with a real feeling for the score's bubbling high spirits.
Once again, the Barns, with its warmly immediate acoustics, proves to be
Washington's best venue for smaller-scale opera.”
The Washington Post
Don
Pasquale
“Conductor
Dean Williamson paced the proceedings sensitively, with appropriate but suave
brio.”
The Minnesota Star-Tribune
Lucia
“Mozart’s musical language is sung and played with
elegant splendor from the first three chords of the overture to the final
cadence of the last scene. Williamson
sets the tempo well, and the production never drags. The orchestra played with an accuracy unusual in a pickup
orchestra. Williamson’s expertise
brought the sections to a coherent whole and maintained a balance of sound with
the singers. He skillfully played the
celesta score such as Mozart might have done.”
Tri-City Herald
Die Zauberflöte
“As at any party, though, the real hero was the
chef--in this case, conductor and arranger Dean Williamson. He led the production with an experienced
professional hand, guiding the opera’s pacing and balance. And he also supplied the highly effective
reduced orchestration for the performance.
...Impressive was his arrangement of the evening’s surprise encore, the
final trio from Richard Strauss’s “Der Rosenkavalier”…Williamson’s arrangement
of Donizetti’s orchestration sparkled, but the Strauss arrangement was nothing
short of miraculous.”
The Spokesman-Review,
Spokane
La
Fille du Régiment
“The orchestra….is expertly conducted by Dean
Williamson….the sound fits the intimacy of the Met and the beauty of Puccini’s
vocal music.”
The Spokesman-Review,
Spokane
Madama
Butterfly
“A full orchestra conducted by Dean Williamson
supplies the music. Williamson does a
fabulous job, bringing some of his own people and adding local musicians. The orchestra alone is worth the price of
admission.”
The Tri-City Herald
Showboat
“…Williamson held the forces
together gracefully and never once slowed the incandescent speed of the piece
as a matter of
accommodation. His
guidance to the singers was immediate, either conducting the orchestra or
playing the harpsichord for
the recitatives.”
Seattle Post-Intelligencer
Così
fan tutte
"Williamson
conducted…..with verve and poise"
Seattle Post-Intelligencer
Le
nozze di Figaro
“The Boise Opera chorus….was precise, as was the
Boise Philharmonic under guest conductor Dean Williamson.”
The Idaho Statesman
Die
Fledermaus
"The music is extraordinary, thanks, of course
to Johann Strauss the Younger, and to the deft direction of Dean
Williamson."
Beaumont
Enterprise
Die
Fledermaus
Return to Dean
Williamson