“Mr. Stone convincingly anchored the substantial ensemble numbers with clear low notes and precise diction.”—T. L. PONICK, “‘Devereux’ compels with power, flexibility”
Washington Times, March 24, 2004.
“A singer of impressive range and expression, Mr. Stone gave a beautifully
balanced, thrilling reading of Verdi’s demanding arias.”—T. L. PONICK, “STIFFELIO; Orchestra, cast, chorus all click in work by Verdi”
Washington Times, June 19, 2003.
“Mr. Stone was especially impressive in the quasi-religious Die Allmacht (The Almighty).”—JAMES R. OESTREICH, “Schubert Celebration Marches Toward a Diminished Finale”
New York Times, March 29, 1997.
“[Benita] Valente, the robust baritone William Stone and the superb pianist David Golub gave a telling, nuanced
account of Hugo Wolf’s complete Italienisches Liederbuch.
The performance was striking for its musical and dramatic continuity, […]
Mr. Stone’s work was distinguished by his honest, resonant vocalism. ”—ANTHONY TOMMASINI, “In Performance: Classical Music,”
New York Times, February 13, 1996.
“William Stone, a first-rate baritone who also makes his [Seattle Opera] debut in this production, proved another
exciting discovery in the role of Rodrigue. His handsome voice, so well suited to conveying the emotional content of the music, is
coupled with a great sense of drama; Stone’s Rodrigue was eminently real. It’s hard to imagine anyone better conveying the honest
decency of this character, sacrificed to the uglier realities of political scheming.”—MELINDA BARGREEN, “Superb Performers Give Wings To Verdi’s Epic Don Carlos,”
Seattle Times, July 29, 1993.
- “Not the least of the problems that have kept Ferruccio Busoni’s Doktor Faust out of circulation
is the phenomenal difficulty of its title role. Faust must hold the stage for three and a half hours, and
the score demands a range of nearly two octaves. The New York City Opera, whose widely praised and
essentially unabridged production of the opera closes tonight, was fortunate to find a baritone of
exceptional artistry and stamina for the role: William Stone.”—ALEX ROSS, “Comfortable Shoes and Other Tricks of a Baritone,”
New York Times, September 29, 1992.
“Christopher Keene’s conducting and William Stone’s performance as Faust have shown that [Busoni’s Faust]
deserves a place much closer to the heart of the operatic repertory.
The final scenes were an impressive tribute to Mr. Stone’s musicianship; […] thoroughly in character.”—EDWARD ROTHSTEIN, “The Mystical Faust Born of an Obsession”
New York Times, September 14, 1992.
“Elisabeth Soderstrom, William Stone and the Orchestra of St. Luke’s, conducted by Julius Rudel, sang and played
songs from [Mahler’s] ‘Des Knaben Wunderhorn‘ at Carnegie Hall on Saturday night. […]
Miss Soderstrom and Mr. Stone made sympathetic protagonists in these 12 songs. The latter’s strong, bluff baritone
conveyed Mahler’s collection of rough lovers and soldiers with simple dignity. ”—BERNARD HOLLAND, “A Refreshing Side of Mahler, Based in Folk,”
New York Times, February 22, 1990.
“As Zurga, the baritone William Stone was by turns compassionate and imperious, and he sang with feeling.”—TIM PAGE, “City Opera: Pecheurs de Perles,”
New York Times, October 3 1983.