REVIEWS
2025
​​
Doug Balliett’s ROME IS FALLING at Avery Fisher Hall (Debut)
“Mr. Balliett, fronting a nine-member band, narrated and played bass guitar; four game opera singers, a children’s chorus and two dancers threw themselves into the tale of several centuries of mayhem compressed into an hour. Lively set pieces included baritone Jorell Williams whipping through the “80 emperors in 80 years” (most of them “killed by his troops”) after the death of Marcus Aurelius in 180”
​
Andy Manshel
As Figaro in 'Le nozze di Figaro' at Opera Columbus
“Figaro’s “Non più andrai” – hit with the full prismatic range of emotions, Williams giving it
the best read of my memory, teasing and rapturous.”
Columbus Underground
​
'Belshazzar’s Feast' at La Maison Symphonique - Choeur St. Laurent/St. Lawrence Choir
“The Toronto baritone Jorell Williams was remarkable in the difficult a cappella passages, which required at once intonation precision on disjointed intervals, projection, and nobility.”
Ludwig-Van Montreal
​
As Belcore in 'L’elisir d’amore' - Manitoba Opera
“American baritone Jorell Williams (MO debut) bursts onstage as the supremely confident sergeant Belcore — Nemorino’s rival — with his opening Come Paride vezzoso (Just as the charming Paris),
his crisp, articulated runs executed with military precision.”
​
Winnipeg Free Press
​
2024
​​​
My Brother's Keeper At Kaufmann Center - New York Festival of Song
In addition to being a singer and pianist, Jorell Williams is also a composer. The evening began with Williams at the piano performing ‘Americana/Go Down Moses’, a profound musical meditation that he wrote in response to George Floyd’s murder in 2020. He was then joined by the other men to sing the hymn ‘Come Unto Me’ in the classic Take 6 arrangement…The final song was ‘I, Too’, in which Jorell Williams sang of the degradations suffered by a Black man with his arms folded in defiance and his voice just as biting. When singing of the day when White people will realize the Black man’s beauty, Williams’s voice conveyed warmth and his body language expressed pride…Before the applause had a chance to die down, Jorell Williams announced that they had a built-in encore to sing, his ‘Hold Fast to Dreams’. The six men sang Williams’s setting of more of Langston Hughes’s words expressing dreams to be pursued and choices to be made with determination and pride.
One marveled at the sincerity and artistry of all on stage.”
Seen and Heard International
As Alexandre in 'La ville morte' - Greek National Opera & Catapult Opera
“The cast was well calibrated, with persuasive performances from the four principals…And baritone Jorell Williams effectively conveyed the unsavory bullying of the older man.”
Classical Voice North America
“Jorell Williams, who played Alexandre, matched Dennis not in charisma but in dynamic variation. He also provided some much needed levity-and cringe-in his confession to Hébé, complete with
standing wobbly on an examination table.”
Ear Relevant
“As Alexander, Jorell Williams’ lustrous baritone and abundant acting chops provided the opera’s only bit of levity. His commanding presence contributed to a sorely needed sense of place.”
Schmopera
“Alexandre was portrayed by baritone Jorell Williams, a fine singing actor with a compelling stage presence…”
Van Magazine
“The four singers Melissa Harvey (Hebe), Laurie Rubin (Anne), Joshua Dennis (Leonard) and Jorell Williams (Alexandre) worked together flawlessly, offering musically idiosyncratic readings of their parts and were very convincing in bringing to the surface the special characteristics and unusual emotions of the mentally troubled heroes, who, flooded with anguish, struggle to escape their suffocating reality.”
Critics’s Point
“American Baritone Jorell Williams, as Alexandre, completed this talented lineup.”
Gerald Malone
​​​
2023
As Don Pasquale in “Don Pasquale” - Opera Omaha
“Jorell Williams gives a tour de force performance as Don Pasquale. Pasquale isn’t really a bad person. His problem is that he’s so used to being the boss that he can’t acknowledge any viewpoint outside of his own. Williams has a fabulous sense of body language as he accurately portrays the aged Pasquale who suffers from the pains and creaks of old age. He blends comedic skill with his body language with his looks of shock and catatonia when Norina stands up to and even dominates him emotionally and physically as she wrests control of his house from him. Williams’ own formidable baritone shines throughout the night, though he also shows his massive vocal range at several points as he slides up the scale from deep bass to falsetto tenor.”
Creating Contemplation
As “Maduka” in the world premiere of 'Of The Sea' - Tapestry Opera / Obsidian Theatre
“It’s also eminently singable and the all Black cast makes the most of it. Jorell Williams, as Maduka, sings powerfully and with beauty and is emotionally engaging.”
Opera Canada
“Williams’ outstanding vocal performance of Maduka begins demure, frightened by his new, sea-bound life, then evolves into fiery, driven arias with strong tessitura when his desire to escape becomes obsessive.”
Intermission Magazine
“Of the Sea boasts an illustrious cast with some of the most beautiful voices I’ve ever heard. Jorell Williams stars as Maduka, a father who has been cast overboard of a slaving ship along with his infant daughter. Williams’ voice seems to reverberate off of every corner of the theatre; his crisp, clear notes carrying with ease.”
A View from the Box
“Maduka has found a perfect home inside the body of Jorell Williams. His powerful, clear tone, ease and flexibility of dynamics, and a remarkable capability for intense physicality brought this Father’s heartbreaking yet inspiring story. I was particularly impressed as for the first possibly 30 minutes of the show (about one-third of the total running time), Williams sang his entire role until this point either lying down, kneeling, or writhing. All this in no way compromised the beauty of his tone or his immaculate diction. As someone who does a lot of physical movement in my work, this isn’t easy and Williams was spectacular.”
Schmopera
“Appearing in the principal role of Maduka, Queen Dfiza’s most recent and, as events quickly prove, most reluctant inhabitant of her undersea dominion, baritone Jorell Williams turns in a performance of enormous energy and virtuosity. “If I must be water, I will not be calm and blue!”, he rages, his voice drenched with fury and frustration. An inexhaustible source of defiance in the face of crushing pressure to surrender his desperate hold on hope. Williams clearly understands the level of jeopardy in play here. An extraordinary characterization.”
Opera Going Toronto
“The cast is exceptional. Williams has a clear, powerful baritone, a striking stage presence and dramatic depth…”
​
Go Ahead Sumi
​​​
2022​​
​
As Captain Corcoran in “HMS Pinafore” - Vancouver Opera
“The principals were impressive: Lyric baritone Jorell Williams was excellent as the Pinafore’s captain…”
Vancouver Sun
“As the Captain, Williams has a smooth baritone, with an equally effortless comedic talent.”
The Stir Arts and Culture
​​​
Guest Artist in “Songbook XI” - Tapestry Opera
“There was much else to like in the slickly staged, 75-minute presentation though perhaps the best, and certainly the most timely, was saved for last. Williams and Tung sang us out with To those fleeing, terror, persecution and war by composer Rene Orth and librettist Kanika Ambrose. The song is about Haiti, but the sentiment is universal and was beautifully conveyed by Williams’s powerful and characterful singing.”
Opera Canada
​
As “Soloist” in Handel’s Messiah - National Philharmonic Orchestra
“This “Messiah,” however, was all about the soloists — which even after a week of strong performances felt like something of a dream team...Insofar as one can steal the show of the “Messiah,” the commanding baritone Jorell Williams did so — a rock-solid singer with a keen understanding of his own expressive depths. But perhaps most enjoyable was observing the visible pleasure the singers took in listening to each other —
like a little gift exchange onstage.”
The Washington Post
“Baritone Jorell Williams had blustery strength in his top range, adding even more high notes in some of his embellishments…his power impressed in the more prophetic pieces. So much so that the audience, which had a tendency to clap before the orchestra completed some arias, ended up clapping twice for his
“The trumpet shall sound,” before and after the end.”
The Washington Classical Review
2021
​​​
As Don Giovanni in “Don Giovanni” - Opera Columbus
“The brilliant cast, under Summer’s direction, made the most of those boxes. Implying a distinct heat, and the fury of a very physical production raging against these almost invisible constraints. Jorell Williams’ Don Giovanni seducing Zerlina (Aryssa Leigh Burrs), against the walls of their respective boxes, and a knife fight between Giovanni and Commendatore (a dazzling Christopher Humbert Jr.) from three boxes away were two
examples of the action rippling with uncanny electricity.”
Columbus Underground
​
Soloist in “A Night of Black Excellence” - Fort Worth Opera
“Blackness was indeed at the center of Fort Worth Opera’s February 21 digital concert, “A Night of Black Excellence,” the brainchild of the company’s recently appointed general director Afton Battle—the first woman and first Black person to hold that office. An assemblage of taped clips, all necessarily recorded under pandemic conditions, it featured an all-Black roster of singers, including both young artists and established performers...Baritone Jorell Williams’s a capella version of “Amazing Grace” was
simple, direct and beautiful to hear.”
Opera News
​​
2020
​​​​
As Dizzy Gillespie in Charlie Parker’s “Yardbird" - Seattle Opera
“The cast, which included a number of Seattle Opera debuts, was consistently strong, both vocally and dramatically. All of the leading roles require considerable athleticism, and each of these outstanding singers delivered impressively... Baritone Jorell Williams played the part of Parker’s best friend Dizzy Gillespie, with whom Parker created bebop. The “Bebop-Freedom” duet, “You are the beep, I am the bop”, in which the two envision the as-yet uncreated bebop sound, was a highlight of the evening, its “message to the people” one that remains relevant. “Freedom!” Williams performed with convincing dramatic comedic skill and great vocal strength; one would have liked to hear more of his mellifluous voice.”
Bachtrack
​
“As Parker’s contemporary and friend Dizzy Gillespie, Jorell Williams steals the show with his easy charm and stunning vocals that cut through the music that often overpowers the voices of other cast members. During an overpopulated and conflict-burdened funeral scene that otherwise leaves one unmoved, Williams’ “Farewell” is beautifully delivered and draws one back into the gravity of the scene.”
The Seattle Times
​
“Bebop’s Gonna Change the World,” for example, sung with Gillespie
(played with charming confidence by Jorell Williams), is positively breezy”
Northwest Music Scene
​
“The vocal performances were all excellent...Baritone Jorell Williams did a great job as Parker's friend and collaborator Dizzy Gillespie; the pair's duet "Message to the People"
is a delightful tribute to bebop and Black power.”
Seattle Gay News
​
“Jorell Williams plays trumpet legend Dizzy Gillespie so masterfully it seems the part that was written for him. The energy Williams brings on stage is electric. The chemistry between Stewart and Williams is magnetic and elevates Stewart's already apt performance. Their duet "Bebop's Gonna Change the World" came closest to audibly honoring Charlie Parker's contribution to the genre. Jorell brought the cool, and the music followed him. This debut performance at the Seattle Opera is no doubt the first of many.”
Culture Catch
​
Brooklyn Art Song Society: Schubert II: Nacht
“The warmth and richness of Jorell Williams’s plummy baritone was ever present, even when he lightened it to capture the poignancy of ‘Der Einsame’ and the wistfulness of ‘An den Mond’. The most beautiful singing of the recital was Williams’s repetition of the final phrase of ‘Wanders Nachtlied II’. The digital format did Andrew Fuchs no favors. He was at his best in the dramatic narrative of ‘Der Zwerg’, where his deep connection with the tale of a doomed queen and the dwarf, who was both lover and assassin, filled the song with mystery and horror.”
See and be heard International
​​​
2019
As Charlie in “Only you will recognize the signal” - HERE Arts Center
“…Jorell Williams add layers of richness in solos and ensembles”
The Wall Street Journal
​
As Hannah-Before in “As One” - New York City Opera
An Important Work Given A Powerful Performance By Jorell Williams & Briana Elyse Hunter
“The work of course can never work without the work of its two leads – baritone Jorell Williams and mezzo-soprano Briana Elyse Hunter. Williams showcased a robust baritone capable of descending to a delicate thread of sound. You sensed his sense of vocal strength throughout the earlier portions, which further emphasized a sense of him trying to put on a fa.ade for others…Together they brought the character to beautiful life,
ultimately proving to be the soul of the work itself.”
Operawire
​
“Sharing the “role” of the protagonist Hannah between two singers (a baritone “before” and a mezzo “after”) is a conceptual coup, particularly with the engaging singers I heard Saturday night,
Jorell Williams and Briana Elyse Hunter.”
The Observer
​
Brooklyn Art Song Society - New Music
“On Friday baritone Jorell Williams, with Brofman in gentle support at the piano, gave an impassioned reading, bordering on stentorian, of Larsen’s Pharaoh Songs that made the ancient poet’s frustration in the song “Ho, what she’s done to me—that girl!” all the more comical...Baritone Williams returned with Brofman to give the premiere of Ludwig’s second cycle. As in the Larsen set, Williams sang in a bold, declamatory style, declining to act the parts of the humans in the picture—the conservationist, the turpentine worker, the soldier—but letting the stories tell themselves. Ludwig’s assertive style had the pianist and the singer mixing it up more than in some of the evening’s previous pieces, with angular, urgent lines and more of those fast unison passages. The cycle’s closing song, “Tree of Life, Burning in the Sun,” pulled back to a vision of “Misting, dissolving, roomy woods” whose “power exists unknown.” If this band in Brooklyn has anything to say about it, the roomy woods of American art song will not exist unknown for long.”
The New York Classical Review
​
Brooklyn Art Song Society - American Iconoclasts
“Baritone Jorell Williams’s vocal tone ranged from intimate forward diction to spacious resonance in the five songs of Set II. Brent Funderburk’s piano part, relegated by Copland somewhat to the background during Set I, now assumed more importance, providing a carillon-like setting for Williams’s preacher in “Zion’s Walls” and some Stravinskian edge to the dark sea shanty “The Golden Willow Tree.”...For his part, Williams sensitively captured the mood of each song, tender to ominous to ebullient. And it was nice to have that bass-baritone
power in reserve for when the music needed it.”
The New York Classical Review
​
Handel’s Israel in Egypt - Caelis Academy Ensemble
“Of note were sopranos Ellen McAteer and Linda Tsatsanis and baritones Clarence Frazer and Jorell Williams. In both cases, the soloists made good use of ornamentation. It was nice to hear the sopranos dovetail each other in “The Lord Is My Strength.” In the baritone duet “The Lord Is a Man of War,” the audience was impressed
with the singers’ sense of line in long, melismatic passages.”
​
La Scena Musicale​​
2018
​​​
As Soloist in Nick Cave’s “The Let Go” - Park Avenue Armory
“Cave’s premiere performance took place in the Wade Thompson Drill Hall and filled the cool, dark space with a 40-foot, rainbow-color Mylar sculpture that dazzled the audience beneath it as it swooped by on rods encircling the crowd. Here, a group of young vocalists from the Sing Harlem Choir—lead by Jorell Williams and Vy Higginsen—sang songs in gospel-style harmonies before a transfixed audience. Their reprise belted out the words “a change has come over me” as the dance performers assumed their soundsuits, and after about 20 minutes of what felt like a religious experience of calm—intended by Cave to create a moment of cathartic transfiguration in the mind and to, essentially, “let go”—the performers, singers, and space itself erupted into a full-on dance frenzy, culminating in a celebration of the collective differences of all who were there.”
Vogue Magazine
​
“In the Up Right performance, young members of Vy Higginsen’s Sing Harlem Choir responded to its leader’s question — “Are you afraid?” with — a shout of “Yes!” and hands in the air like the hands-up don’t- shoot posture associated with Black Lives Matter. But, as the soaring baritone of Jorell Williams and soothing words sung by the choir resonated through the hall, Cave’s stand-ins (called “Initiates” — young men dressed in ordinary street clothes) appeared with arms held high…As the choir sang, the Practitioners slowly and tenderly groomed the bundles of raffia, mylar, beads and hair and placed them on the Initiates.
The process of metamorphosis was slow, solemn, ritualistic.”
The Daily Review
​​
2017
​​​
As Nardo in 'La finta giardiniera' - The Atlanta Opera & On-Site Opera
“Alisa Jordheim was a pert, bookish Serpetta, aiming lithe soprano darts at the mellifluous baritone Jorell Williams, an endearingly goofball Nardo. The pair milked their size difference for teddy-bear cuteness,
as well as laughs; Williams was especially hilarious experimenting with foreign tongues
in an attempt to win Serpetta’s heart.”
Opera News
​
“Outstanding among them were two servants: the baritone Jorell Williams as Robert and
the clear-voiced soprano Alisa Jordheim as Serpetta.”
The New York Times
​
“Baritone Jorell Williams was another massive vocal presence throughout the night, the singer’s diction and voice clear from every spot in the garden. He was a feisty Nardo, his pursuits of Serpetta not-so-subtle but quite enjoyable. His aria on conquering any woman with any language was one of the musical highlights of the evening, the singer showcasing different colors for each language. A brighter touch was employed for Italian and at one point, during some French, his timbre appropriated a lighter quality as he struck a hilarious pose. But upon failing to win his heart’s desire, his voice turned darker and harsher as he rebuked his failed attempts,
some utterances of words turning into potent shouts.”
Operawire
​
“Jorell Williams as her workmate is the star of this show, bringing a firm and shaped baritone and delicious details of his acting to bear on the role. He brandishes a red rake as though he were a matador
and the puns are crude and very funny. Is he a rake?”
Berkshire Fine Arts
​
“It was an entertaining performance by a credible ensemble cast, seen and heard close-up, each of whom had good opportunity to strut their own stuff, both character and voice. There were eye-rolling garden (and garden tool) puns that permeated parts of Rourke’s libretto, especially in the beginning, a clue to the lighthearted tone well-suited to the very warm spring afternoon.
Arts ATL
​
World Premiere of Boquiren's 'Independence Eve' - Urban Arias
"UrbanArias gave an important piece the production values and cast it deserved, with an evocative square of park around a bench at the center of the black-box theater, and two singers who did a good job becoming three very different characters before our eyes. Jorell Williams, a plummy baritone, was particularly notable both for his liquid singing and his convincing incorporation of all three roles he played."
​
The Washington Post
​
"The music is very challenging and yet Jorell Williams and Brandon Snook, two talented artists, sing with such articulation, fluidity and expressiveness that one can comprehend every word – which is vital when the score is more set-speech then set-arias...Williams’ strong baritone opens to the warmth of his life story...
Jorell Williams is convincing as an articulate man of integrity in distress and sings with passion, clarity and emotional expressiveness. And, he can blast out a F-bomb on pitch! Snook does a wonderful job of exploring his warm and uplifting voice through the twist s and turns of the music.​​"
​
DC Theater Scene
​
"In this fully realized libretto, the singers pull heavy weight with dialogue that is conversational with barely a pause and characters that are embodied in graceful maneuvering around
a simple park bench on a nice summer day.
​
DC Theater Arts
​
"Both singers gave engrossing performances, not only their singing but completely transforming themselves into each of the three characters they play... Williams' smooth voice could be either bright or somber. "
​
Feast of Music
​
2016
​
Brooklyn Art Song Society's - Brittanica Concert
"Gerald Finzi seemed to have handled the English language uncommonly well, or else Mr. Williams is uncommonly gifted since "Come Away Death" and "What is Sylvia?" made a fine impression on us. The vocal line seemed to match the rhythm of the language in a manner not heard from most contemporary composers. We attribute this success partly to Mr. Williams and partly to Mr. Brofman, both of whom seem to have a flair for Finzi."
​
Voce di Meche
​
As Morales in 'Carmen' - Opera Maine
“Carmen” is a populous opera, and there were strong contributions from singers in smaller roles, among them...Jorell Williams (Moralès)...”
The Portland Press-Herald
​
Songfest at Colburn: Los Angeles - Eisler's Hollywood Songbook
"And yet, through all the negativity, social protest and anger, “Hollywood Songbook” reveals an extraordinary amount of compassion...the performances by Kristina Bachrach, Phoebe Haines, Deborah Rosengaus, Heather Witt, Christian Bester and Jorell Williams as the ghosts were uniformly impressive."
The Los Angeles Times
​
The Adirondack Opera with The Northern Lights Choir
"The choir returned with emphasis for the next song, "Those Are the Same Stars," which also featured Mr. Williams. With words by African-American poet Sojourner Truth, it lifted the audience's thoughts into the night sky and earned a hearty ovation afterward."
The Adirondack Daily Enterprise
​
As Soloist in Ginastera's 'Estancia' - Eugene Symphony Orchestra
"Between ballet sections, baritone Jorell Williams, in a rich, orotund voice, delivered several songs by Ginastera, with Vadym Kholodenko accompanying at the piano."
The Register-Guard
2015
​​​
As Vernon Addams in “Blue Viola” - Urban Arias
“Baritone Jorell Williams showed promise as Vernon, the junk dealer who takes the precious instrument home, with a smooth tone in the slow aria “Time Is a Monster” in the second scene.”
The Washington Post
​
“As Vernon, Jorell Williams brings wisdom and resonant integrity to the role, winning over the audience with his down-to-earth embrace of beauty and his glorious voice.”
Maryland Theater Guide
​
“As Vernon, Williams has a deliciously resonant baritone voice that gives a
kind of royalty to his downtrodden character...”
Broadway world.com
​
As Zurga in 'Les pêcheurs de perles' - Santa Fe Opera’s Apprentice Scenes
“On a more serious note was the famous duet from Bizet's Les pêcheurs de perles in which Nadir and Zurga express their rivalry. Tenor John Myers gave a well-modulated performance that harmonized beautifully with baritone Jorell Williams, from whom we have never heard a performance less than first-rate. The French diction was truly excellent. A real audience-pleaser that "Au fond du temple saint"! Never fails--
two gorgeous male voices and the audience swoons. As we did.”
Voce di Meche
​​
2014
As Pallante in Handel's 'Agrippina" - Operamission
“Baritone Jorell Williams’s forthright, virile singing as Pallante...always grabbed one’s attention.”
Parterre
​
As Jake in Gershwin's 'Porgy & Bess' - Syracuse Opera
“As the fisherman, Jake, Jorell Williams sang with a strongly defined baritone
in the rowing song 'It takes a long pull to get there'.”
Opera Today
2013
​
As Guest Artist in 'Comfort Ye' Gala - Symphony Space
“Some special young friends of Ms. Flanigan, pictured above, sang a selection of holiday songs; one of them just knocked our socks off. Jorell Williams sang "Santa Ain't Black" by Rachel Peters;
the lyrics were so funny we have requested them.”
Voce di Meche​
​
As Belcore in 'L’elisir d’amore' - Prelude to Performance
“Jorell Williams, as Belcore, delivered the smoothest vocal performance, opting for casual narcissism with moves such as keeping Adina's bouquet for himself and sitting in the chair he had dusted off for her.”
Opera News
​
“Figuring in the plot as well are two comic figures--the pompous Sergeant Belcore
stylishly sung by baritone Jorell Williams…”
Voce di Meche
​
As Frederick Douglass/Baumfree in Paula Kimpers 'Truth' - New York Fringe Festival
“Baritone Jorell Williams has a light, mocking touch as Frederick Douglass and in other roles.”
Time Out New York
“Supporting Ms. Pringle in a variety of roles ranging from her father to Fredrick Douglas is Jorell Williams, an impressive and powerful baritone with a rich timbre and a smooth style. A few of his roles are written for a full bass, below Mr. Williams’ range; but when the role fits his voice, he is quite wonderful. “
BSonArts.com
“...baritone Jorell Williams is an imposing Frederick Douglass, especially when
debating abolitionist Strategy with Truth.”
blogcritics.org
​
“Baritone Jorell Williams plays a smoothly assured, if slightly condescending at first, Fredrick Douglass who Truth swiftly puts in his place. Their chemistry is unbeatable on stage, making their debates lively fun to watch.”
NYtheatre.com
“Equally effective in their multiple roles are baritone Jorell Williams who delineates with stunning precision between Baumfree and Frederick Douglas and whose strong secure tones
counterpoint beautifully with those of Ms. Pringle.”
Theatre Reviews Limited
​​​
As Maximilian in 'Candide' - Amarillo Opera
“Jorell Williams was wonderful as the vain and preening Maximillian...”
Theater Jones
​
As Soloist in Brahms' Requiem - Omaha Symphony
“Both Wakim and baritone Jorell Williams, featured in the third and sixth movements, sang without benefit of microphones. Williams sang with clarity, depth and authority in the sixth movement’s pivotal passage, “Siehe, ich sage euch ein Geheimnis” (“Lo! I tell you a mystery”), drawn from 1 Corinthians 15
and also used in George Friedric Handel’s “Messiah.”
World-Herald correspondent
2012
​
Abyssinian Mass at The Barbican [UK]
"...But the most compelling moments belonged to the choir and soloists, whose ecstatic reading of
the Mass elevated Marsalis' riffs to the high heavens."
The Guardian [UK]
​
As Soloist with American Opera Projects - First Glimpse
“After intermission, the audience was treated to a bonus song – an extemporaneous aria consisting of the names of donors to a recent Kickstarter campaign for C&V. The reward for these donors was hilariously “written” and performed by the entertainment machine that is Jorell Williams. (If the name wasn’t already taken, we are sure that a one-man show of Jorell would be called Showboat.)”
The AOP Blog
2011
​
As The Villager in Kurt Weill's Lost in the Stars - New York City Center Encores!
“Resonant, dark-voiced Jorell Williams led the ensemble in solemn hymn “A Bird of Passage.”
New York’s performances and Arts reviews
​
As Soloist in 'The Muir' - Mark Morris Dance Group (Beethoven Tour)
“The world of the beguiling and often moving songs, artfully sung by three vocalists (baritone Jorell Williams is a standout) with accompaniment by a piano-and-strings trio...”
The Wall Street Journal
​
"All tactics are on view in the charming sextet, The Muir, which is set to a selection of Beethoven’s arrangements of Scottish and Irish folk songs (for this the three above-mentioned instrumentalists are joined by excellent singers: mezzo-soprano Irene Snyder, tenor John Matthew Myers, and baritone Jorell Williams).
The Village Voice
​
As Captain Corcoran in “HMS Pinafore" - Caramoor International Music Festival
“Baritone Jorell Williams was a fine, concise Captain.”
Opera News
​
“Jorell Williams was endearing as Captain Corcoran, with a burnished vocal tone and a deadpan comic style.”
The News Times
​
“Jorell Williams, also a baritone, was a magnificent, rich-toned Captain Corcoran. His comic timing was perfect, both as the captain and, in the final scene, as a common sailor.”
The New York Times
​
“Baritone Jorell Williams delivered a commendable Captain Corcoran with perfect comedic timing...”
The New York Arts
​
“With Crutchfield conducting the Orchestra of St. Luke's and a cast of operatically trained voices, the evening indeed fit at least the literal translation of "bel canto," which is Italian for ‘beautiful singing’…
Baritone Jorell Williams was a smooth-voiced captain...”
ABC News - The Associated Press
​
2010
​​​
As Guest Artist for Steinway Hall’s Cultural Concert Series
“Mr. Williams demonstrated a strong pleasing baritone able to negotiate this
hallowed operatic territory with distinction.”
The Italian Voice
​​​
2009
​​​
As Sergeant of Police in 'Pirates of Penzance' - Chautauqua Opera
"..and Jorell Williams held all attention, when performing as the chief of police.”
Post-Journal
​
Gerda Lissner Winner’s Concert at Carnegie Hall
“Other prize-winners who made a strong impression were...baritone JORELL WILLIAMS ($5,000), who showed a solid vocal core and easy, natural production in "Lieben, Hassen," from Ariadne auf Naxos;”
Opera News
​
Guest Soloist for 7th Annual Career Bridges Foundation Gala
“The Papagena-Papageno duet was most chirpingly and charmingly sung by soprano Hye Jung Lee and
baritone Jorell Williams with brilliant staccato diction.”
NYC Blogpost
2008
​
As Henry Davis in Kurt Weill's 'Street Scene' - Manhattan School of Music
”Jorell (as Henry Davis) made a nice moment of "I Got a Marble and a Star," with natural, understated charm…”
Opera News
2007
​
As Milord Arespighn in Cimarosa's 'L’italiana in Londra' - Manhattan School of Music
“...Jorell Williams, as Milord, lends a bright baritone to his rapid-fire aria about the
(figurative) furies that pursue him...”
New York’s performances and Arts reviews
​
“As Arespingh, the baritone Jorell Williams showed some pleasing resonance.”
Opera News