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William Lewis  

 

Internationally acclaimed tenor William Lewis was educated at the University of Colorado, Texas Christian University and New York University; and became a professor of voice and opera at  Penn State University and State University of New York at Binghamton. He is currently the holder of the prestigious Frank C. Erwin, Jr. Centennial Professorship in Opera at the University of Texas, Austin. He is the director of the Studio Ensemble of the Butler Opera Center, the Austrian American  Mozart  Academy in Salzburg and the new and highly regarded Franco American Vocal Academy in Perigord, France.

Lewis enjoys a distinguished reputation as a tenor whose versatility spans the operatic repertoire from Mozart to Schonberg, having performed one hundred forty major roles in ten languages. At the Metropolitan Opera in New York, during a tenure of thirty-five years, he was heard as: Rodolfo, Cavaradossi, Pinkerton, Macduff, Arrigo, Alfredo, Gabriele Adorno, Turiddu, Hoffmann, Don Jose, Romeo, Aeneas, Dimitri, Ghermann, Stewa, Idomeneo, Alwa, Der Tambourmajor, Oedipus Rex and the dual role of Steuermann/Erik in Der Fliegende Hollander.

He made his San Francisco Opera debut in 1975 as Steuermann/Erik and appeared there in subsequent seasons as: Stewa in Jenufa, Albert Gregor in the Makropoulos Affair, Boris in Katya Kabanova, Frank Sargent in the World Premier of Angle of Repose, Le Cid, Sergei in Lady Macbeth of Mtzensk, Golitsin in Khovantschina, Eumete in Ritorno d'Ulisse in Patria and Loge in Das Rheingold.

In Europe the renowned tenor has received critical praise at: Teatro alla Scala (Milano), Teatro Comunale (Firenze), Teatro La Fenice (Venezia), Teatro Regia (Torino), Theatre National de Paris, Opera Lyon, Opera Toulouse, Royal Opera Covent Garden (London) , Sao Carlo Opera (Lisbon), Cologne Opera, as well as the festivals at: Salzburg, Edinburgh, Festival dei due Mondi (Spoleto), Spoleto USA (Charleston,S.C.), Wexford, Ireland, Amsterdam and Santa Fe, New Mexico.

His performed Richard Strauss repertoire is outstanding: Matteo in Arabella, Bacchus in Ariadne auf Naxos, Der Kaiser in Die Frau ohne Schatten, Midas and King Pollux in Die Liebe der Danae, Apollo in Daphne, Der Baron in Intermezzo, the title role of Guntram; and he has received rave reviews as King Herodes in Salome at the Teatro Carlo Felice (Genoa), Teatro Nuovo (Spoleto), Baltimore Opera, Denver Opera, Austin Lyric Opera, Nashville Opera. He made his debut at the Metropolitan Opera in New York, as the young Syrian Narraboth in Salome in 1958.

In concert and song recital, the tenor toured throughout the United States and Canada under the aegis of Columbia Artists, National Concert Artists and Sardos Artists of New York City. In Europe he was heard in concert at: Royal Festival Hall, Royal Albert Hall and Wigmore Hall (London), the Concertgebow (Amsterdam), Musiksalle (Berlin), Mozartsalle (Vienna), Tonhalle (Munich), Edmundsbergsalle (Salzburg)

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REVIEWS

 

NEW YORK TIMES: Loge in Das Rheingold: ‘Magnificent, insinuating, calculating, strong voiced!'

SAN FRANCISCO CHRONICLE: Steuermann/Erik in Der Fliegende Hollander: ‘A strong, effortless Siegmund-Siegfried tenor'

LONDON TIMES: Aeneas in Les Troyens a Carthage: ‘William Lewis was electrifying as the hero Aeneas'.

CORRIERA DELLA SERA (Milano): Riccardo Terzo (World Premier): ‘A great personal success for tenor William Lewis'

NEWARK STAR LEDGER: Idomeneo: ‘Tenor William Lewis was the Idomeneo in one of the finest Mozart performances at the Met in recent seasons. A major triumph!'

NEW YORK POST: Oedipus Rex: A superb performance as Oedipus Rex by William Lewis. Lewis was a master of his voice, meeting the most difficult demands with such forcefulness I was at once chilled and exhilarated'.

NEW YORK TIMES: Aschenbach in Death in Venice: Lewis meets the demands of Aschenbach for clarity, accuracy and stamina with great success. His work is wholly admirable, intelligent, sincere and blessed with a passion for diction'.

PHILADELPHIA ENQUIRER: Peter Grimes: ‘Singing the title and also directing the production, William Lewis revealed a thrilling commitment to the musical and dramatic power of Britten's masterpiece. An unqualified success!'

 IL GIORNALE (Milano): Baltasar in Blimunda (World Premier): As Blimunda's lover Baltasar, tenor William Lewis surpasses brilliance'.