Will Liverman

Praised by The New York Times as “mellow-voiced and charismatic” and Opera News for his “noble sound and bearing,” baritone Will Liverman is quickly gaining a reputation for his compelling performances, while making significant debuts at opera houses across the country.

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WOLF TRAP OPERA: The Ghost of Versailles

Will Liverman's suave baritone and sensitive styling proved a good fit the role of Beaumarchais.

Opera News

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Philadelphia Opera: Yardbird

 

Mr. Schnyder comes closest to evoking Parker bebop in the wonderful scenes between Charlie and DIZZY, here the dynamic baritone Will Liverman. “You are the other half of my heartbeat,” DIZZY sings in a jazzy, bopping duet.

ANTHONY TOMMASINI for THE NEW YORK TIMES

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The great revelation of the evening for me was Liverman, who is a wonderfully commanding presence as Dizzy Gillespie inYardbird.

Philly.com

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"Dizzy Gillespie, sung by the eloquent baritone Will Liverman, who also showed fine legato."

DAVID SHENGOLD for Opera News

 

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Madison Opera: "Barber of Seville"

Liverman delivered an imposing performance.

WILLIAM WINEKE for CHANNEL 3000

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LYRIC OPERA OF CHICAGO: "RISING STARS IN CONCERT" 

Among other highlights - third-year baritone Will Liverman sang admirably in Debussy and Korngold selections. He also sounds like a Ryan grad who's ready for his close-up beyond the Lyric nest.

JOHN VON RHEIN for CHICAGO TRIBUNE

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LYRIC OPERA OF CHICAGO & HARRIS THEATER: Beyond the Aria 

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Then—and this was a major highlight of the evening-- Liverman took over the piano and serenaded us as he played a composition he created by fusing together two works that spoke to the seasons.

AMY MUNICE for SPLASH MAGAZINE

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LYRIC OPERA OF CHICAGO: Magic Victrola

Liverman's vocally and physically agile Papageno led a uniformly fine vocal contingent

JOHN VON RHEIN for CHICAGO TRIBUNE




Baritone Will Liverman... never-overdone comic performance.  

SUN TIMES

 

LYRIC OPERA OF CHICAGO: PORGY & BESS

 

Standouts in the large ensemble included Will liverman's keenly characterized lawyer frazier

OPERA NEWS

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LYRIC OPERA OF CHICAGO: "RISING STARS IN CONCERT" 

The second half was anchored by second-year baritone Will Liverman in J. Robert Oppenheimer’s searing aria “Batter my heart” from John Adams “Doctor Atomic,” ...You could have heard a molecule drop, so compelling was Liverman’s singing and stage presence, so clear his enunciation and projection.

[Bridges] and Liverman breathed immediacy into the great “Bess, you is my woman now” duet from Gershwin, Gershwin and Heyward’s “Porgy and Bess.”

ANDREW PATNER for SUN-TIMES MEDIA

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GRANT PARK MUSIC FESTIVAL: "BOLCOM'S CABARET SONGS"

Will Liverman began the set in superb style, deploying his robust baritone in “Surprise,” “The Actor” and, best of all, a very freely phrased and effective “Song of Black Max.”

LAWRENCE A. JOHNSON for CHICAGO CLASSICAL REVIEW

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UTAH OPERA: THE BARBER OF SEVILLE

 

Liverman is a rich and resonant baritone, and at the very beginning of the iconic “Largo al factotum,” it was clear he would knock this one out of the proverbial park.

RACHEL RECOMMENDS

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LYRIC OPERA OF CHICAGO: "FAMILY BARBER"

The standouts were tenor John Irvin's brightly sung Almaviva and baritone Will Liverman's crisply pattering Figaro.

JOHN VON RHEIN for CHICAGO TRIBUNE

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JUILLIARD OPERA: "KOMMILITONEN!" 

Best of all was baritone Will Liverman, noble in sound and bearing as James Meredith. 

FRED COHN for OPERA NEWS

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The music continues in that vein. In a ruminative aria for James Meredith, the churning orchestra blends pentatonic phrases from a spiritual into subdued, restless atonal harmonies. Above it, Meredith sings in recitative like lines that hug the words and avoid lyrical effusions. Yet it comes across as a character-defining aria, especially as sung here by Will Liverman, a mellow-voiced and charismatic baritone.

ANTHONY TOMMASINI for THE NEW YORK TIMES

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GEORGE LONDON FOUNDATION: "2012 COMPETITION" 

Encouragement Awards were given...The standouts in this group were baritone Will Liverman, who provided some of the greatest excitement of the competition with "Sibilar gli angui d'Aletto," from Rinaldo.

BRIAN KELLOW for OPERA NEWS

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