MARIWYNWILLIAMSSOPRANO.CO.UK SOPRANO

MARI WYN WILLIAMS

Photography: Chrisopher Davis

Welsh Soprano Mari Wyn Williams is a Graduate of The Wales International Academy of Voice where she studied with the international tenor Dennis O’Neill. She is also a Les Azuriales Young Artist.

Competition successes include third prize at the Montserrat Caballe Competition in Zaragoza, finalist at the London Wagner competition and finalist at the Elizabeth Connell competition for Dramatic Sopranos in Sydney, Australia.

Mari recently performed the roles of: Ellen Orford for a concert version of Peter Grimes with the Kensington Symphony Orchestra and the Epiphoni Consort, Woglinde from Das Rheingold for Longborough Festival Opera, Fiordiligi from Così fan tutte for Swansea City Opera, Musetta from La Bohème for Mid Wales Opera, the title role in Tosca for Opera Project at the Tobacco Factory in Bristol, Helmwige from Die Walküre for Grange Park Opera, and Ortlinde from ENO’s new production of The Valkyrie directed by Richard Jones and conducted by Martyn Brabbins in a co-production with the Metropolitan Opera, New York.

Mari has also covered the roles of Mary Kelly from Iain Bell’s new opera Jack The Ripper: The Women of Whitechapel, Cio Cio San from Madam Butterfly and Brünnhilde from The Valkyrie for ENO.

Upcoming engagements include; Woglinde in Longborough Festival Opera’s Götterdämmerung and Der Ring des Nibelungen, and Lady Macbeth for Mid Wales Opera.

PRESS

“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”

OPERA MAGAZINGE - MARK VALENCIA - MARCH 2023
PETER GRIMES - KENSINGTON SYMPHONY ORCEHSTRA - QUEEN ELIZABETH HALL, SOUTHBANK
“With a team of charismatic, roof-raising Rhinemaidens, this was a hugely enjoyable evening.”

David Mellor, The Daily Mail
“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
“The amplitude of Mari Wyn Williams as Inez suggested a Leonora in Waiting.”

Yehuda Shapiro, Opera Magazine
“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.”

Leah Tozer, The Reviews Hub
“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
“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
“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
“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

MARIWYNWILLIAMSSOPRANO.CO.UK SOPRANO

MARI WYN WILLIAMS

PRESS

“With a team of charismatic, roof-raising Rhinemaidens, this was a hugely enjoyable evening.”

“The three winsome Rhinemaidens – Mari Wyn Williams, Rebecca Afonwy-Jones and Katie Stevenson – whose singing stood out from their schoolgirl cavorting.”

“The amplitude of Mari Wyn Williams as Inez suggested a Leonora in Waiting.”

“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.”

“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.”

“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.”

“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.”

ANNA-LUISE WAGNER

ADRIANA FESTEU