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Dean Williamson

Conductor

Dean Williamson is widely known throughout the United States for his perceptive and commanding conducting. His ambitious and versatile career in standard and contemporary repertoire earns the conductor worldwide acclaim. The Washington Post says “a brilliantly directed, beautifully sung and endlessly funny Barber of Seville…the orchestra, which played the sparkling overture and the vivid storm music with grace and color under the expert baton of Dean Williamson.” The Seattle Times says “Williamson keeps a sure, steady hand on the singers and the orchestra…realizing the shimmering and otherworldly textures of the score.” This season Maestro Williamson conducts for Nashville Opera, where he’s entering his 2nd season as Music Director, with productions of Don Giovanni, Glory Denied, and Three Way, a new triple-bill opera from Robert Paterson that “explore[s] the future of love, sex, and need with a clever balance of humor and drama,” which he also conducts at Brooklyn Academy of Music with Nashville Opera. Additionally, he conducts La Cenerentola with Arizona Opera and Tosca with Intermountain Opera Bozeman.

Jun
2016

Jun-22
to
Jun-26
Florencia en el Amazonas
New York City Opera
New York, NY
Oct
2016

Oct-06
to
Oct-08
Don Giovanni
Nashville Opera
Nashville, TN
Nov
2016

Nov-11
to
Nov-13
Glory Denied
Nashville Opera
Nashville, TN
Jan
2017

Jan-27
to
Jan-31
Three Way
Nashville Opera
Nashville, TN
Apr
2017

Apr-01
to
Apr-09
La Cenerentola
Arizona Opera
Phoenix, AZ
May
2017

May-12
to
May-14
Tosca
Intermountain Opera Bozeman
Bozeman, MT
Jun
2017

Jun-15
to
Jun-18
Three Way
Brooklyn Academy of Music (with Nashville Opera)
Brooklyn, NY
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Le comte Ory nominated for an Emmy!
 Le comte Ory  Des Moines Metro Opera Presents Le Comte Ory was nominated for a 2015 Midwest Regional Emmy inder the Arts/Entertainment – Program category!  For more information click here! 
…drew colorful, shimmering playing…
 Florencia en el Amazonas “The conductor Dean Williamson drew colorful, shimmering playing from the City Opera orchestra.” – The New York Times
…admirable style, buoyant tempos…
 Così fan tutte  “As always, Williamson presided in the pit with his admirable style, buoyant tempos and shapely phrases.  He supports the singers but never indulges them by lingering unduly.  His work is inevitably lucid and organic, even poetic, which cannot be said for many conductors.”Seattle Post-Intelligencer
…obtains the maximum effect…
Don Giovanni “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
…nuance abounded without mannerism…
 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.”Society Journal
…both steady and impassioned…
Les contes d’Hoffmann “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.”Opera News
Dean Williamson is widely known throughout the United States for his perceptive and commanding conducting. His ambitious and versatile career in standard and contemporary repertoire earns the conductor worldwide acclaim. The Washington Post says “a brilliantly directed, beautifully sung and endlessly funny Barber of Seville…the orchestra, which played the sparkling overture and the vivid storm music with grace and color under the expert baton of Dean Williamson.” The Seattle Times says “Williamson keeps a sure, steady hand on the singers and the orchestra…realizing the shimmering and otherworldly textures of the score.” This season Maestro Williamson conducts for Nashville Opera, where he’s entering his 2nd season as Music Director, with productions of Don Giovanni, Glory Denied, and Three Way, a new triple-bill opera from Robert Paterson that “explore[s] the future of love, sex, and need with a clever balance of humor and drama,” which he also conducts at Brooklyn Academy of Music with Nashville Opera. Additionally, he conducts La Cenerentola with Arizona Opera and Tosca with Intermountain Opera Bozeman.

Last season’s engagements included Hydrogen Jukebox, Così fan tutte, and Die Fledermaus with Nashville Opera; Don Pasquale for Intermountain Opera Bozeman; and Faure’s Penelope for Philharmonia Northwest. Additionally, he was honored with a nomination for the 2015 Emmy Awards for the televised broadcast of the production of Le comte Ory that he conducted for Des Moines Metro Opera.

Recent engagements include returns to Seattle Opera for Il barbiere di Siviglia, Les contes d’Hoffmann, Pagliacci, Turn of the Screw, and Le nozze di Figaro; The Rake’s Progress, Don Pasquale, La Cenerentola, and Falstaff at Wolf Trap Opera; La bohème with Opera Santa Barbara; Die Zauberflöte with Opera Colorado; Rigoletto at Arizona Opera; La Cenerentola at Skagit Opera; Il barbiere di Siviglia at Opera Idaho; a reprisal of Carmina Burana for Spectrum Dance; Il barbiere di Siviglia and Carmen at the Opera Theatre of St. Louis; L’italiana in Algeri for Boston Lyric Opera; Lucia di Lammermoor with Minnesota Opera; Catán’s Florencia en el Amazonas, Carly Simon’s Romulus Hunt, La fanciulla del West, Roméo et Juliette, Samson et Dalila, La Cenerentola, The Difficulty of Crossing a Field, Michael Nyman’s The Man Who Mistook His Wife for a Hat and Il barbiere di Siviglia with Nashville Opera; Il trovatore, Madama Butterfly, Cavalleria rusticana/Pagliacci and Die Zauberflöte at the Chautauqua Opera; Summer and Smoke with the New England Conservatory; Street Scene for Hardin-Simmons University; Hänsel und Gretel, Don Giovanni and The Turn of the Screw for Baldwin-Wallace University; Pagliacci with Skagit Opera; Die Zauberflöte for Northwestern University; Le nozze di Figaro with Wichita Grand Opera; and Die Entführung aus dem Serail and Catán’s Rappacini’s Daughter with Des Moines Metro Opera.

Williamson served as the Artistic Director of Opera Cleveland from 2008-2010, where he conducted Don Giovanni, Lucia di Lammermoor, La bohème, Hänsel und Gretel, Le nozze di Figaro, Il barbiere di Siviglia, Falstaff, Les pêcheurs de perles and their final production of La voix humaine/Pagliacci.   In addition, Williamson served until 2002 as Music Director and Conductor of the Seattle Opera Young Artists Program. He led all of the program’s productions, such as Falstaff, Così Fan Tutte, Le nozze di Figaro, Don Giovanni, La Cenerentola, and La bohème. He was Music Director of the Washington East Opera, and Artistic Director of the Viva Voce Song Recital Series with the Northwest Chamber Orchestra.

Williamson also worked with the Caramoor Festival, Central City Opera, Santa Fe Opera, Blossom Festival, Banff Festival, Colorado Arts Festival, Northwest Chamber Orchestra, Opera Idaho, Bellevue Philharmonic, and has served as Guest Faculty for the University of Washington and New York University. Mr. Williamson also performed throughout the United States, Canada, and Europe as accompanist with some of the world’s leading singers in such venues as Weill Recital Hall, the Wieniawski Society, and at Merkin Hall.

His discography includes Richard Danielpour’s Chamber Concerto, Respighi’s Prelude, Bach’s Fugue, and a program of Chopin/Bartok entitled Musically Speaking, all on the Delos Productions label, as well as He’ll Bring it to Pass and Songs of Harold Arlen with Mezzo-Soprano Del-Louise Moyer on Alyssum Enterprises Records.

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