BARITONE

Opera North – COSI FAN TUTTE (Feb’16)

“Don Alfonso can be a thankless part – a largely unsympathetic character who goes through a three-hour opera without a proper individual aria. But Dazeley’s Alfonso subtly alters the dynamic of the evening. This Don is not a dusty old pedant, but a still-virile figure whose job is to remind his young companions that he was once in their shoes as one day they will be in his”
The Guardian, Alfred Hickling (4 Feb’16)

Garsington Festival – DEATH IN VENICE (June 2015)

“William Dazeley (as the Traveller, etc.) donned his seven alter-egos with chameleon-like changeability, and sang his music in a lyric baritone that has darkened impressively in recent years.”
Opera, Hugh Canning, September 2015

“Today his (Steuart Bedford) interpretation is perfectly measured,  catching all the score’s febrile anxiety as well as its brief arcs of glowing lyricism and it’s brilliantly characterised vignettes of the Venetian scene.  The latter was populated here by a host of young singers,  all of whom made their mark as Britten intended, and presided over by William Dazeley, splendidly sinister and incisive in a variety of guises and personae.”
Rupert Christiansen, The Telegraph, June 22 2015

“Most of the secondary characters are conflated into a single multiple role,  played here by William Dazeley.  Excellent casting again,  as Dazeley has both a fine baritone (the pick of the voices) and the acting ability to transform instantly from one character to the next.  The sheer dramatic conviction of his production is one of it’s defining qualities,  for which Dazeley deserves much of the credit”
Bachtrack

“Next to Nilon in centrality are the seven baritone roles undertaken by one singer – those of the characters such as the Traveller,  the Elderly Fop,  the Hotel Manager,  the Hotel Barber and others,  who seem to be leading Aschebach towards his own death.  William Dazeley personifies these perfectly,  singing each one with distinction and managing with alacrity the quick changes necessary between them”
George Hall, The Stage, 22 June 2015

“William Dazeley’s handsomely-phrasing baritone has a dark colour right for the harbinger of death.  This is a bass-baritone role written for the superlative John Shirley-Quirk – and he brings the right sinister quality to the falsettos of the creepy fop, hotel barber and leader of the travelling players.”
David Nice, The Arts Desk, 22 June 2015

Chelsea Opera Group – LE ROI DE LAHORE

“William Dazeley ably took the role of the slippery minister, Scindia … it is very beautifully coloured and shaped.”
Mark Pullinger, bachtrack, 2 March 2015

“COG’s cast was a strong one … William Dazeley’s focused baritone helped him define a suitably villainous Scindia.”
George Hall, The Guardian, 2 March 2015

“William Dazeley was an excellent Scindia who cleverly utilised his baritone voice to demonstrate malevolence alongside a degree of desperation.”
Sam Smith, musicOMH, 1 March 2015

Chelsea Opera Group – CRISTINA REGINA DI SVEZIA

“The performance really took flight with the emergence of William Dazeley as Carl Gustav – demonstrating that his virile Baritone is developing in a way that should lead to his assuming some of the heavier Verdi roles … He uses text well and his duet with Cristina created the most exciting section of the evening”
Alexander Campbell, Classical Source, November 2014

Buxton Festival – MARIA DI ROHAN (July 2011)

“It’s ultimately the men, more sharply drawn, who give the work its force. John Bellemer is the easy-voiced, charismatic Chalais, though it’s William Dazeley’s elegant, violent Chevreuse who steals the show.”
Tim Ashley, The Guardian, 10 July 2011

Opera North – DON CARLOS – May 2009

“baritone William Dazeley exudes such powerful charisma as Marquis of Posa that the production seems to lose its sense of purpose after his demise”
The Guardian, 23 May 2009

“William Dazeley’s Rodrigo has style and substance”
Financial Times, 5 May 2009

“As this line-up shows, Opera North has flair…A lyrical, sympathetic William Dazeley shone as Posa.”
The Observer, 10 May 2009

Opera North – LET ‘EM EAT CAKE

“William Dazeley and Bibi Heal make a visually charismatic and vocally accomplished first couple”
The Guardian, 31 January 2009

“William Dazeley, his baritone as focused and robust as his presedential ego”
The Times, 2 February 2009

Opera North – OF THEE I SING

“Moving from the manipulative candidate to the lovelorn Wintergreen, William Dazeley is vocally ideal”
Yorkshire Post, 10 October 2008

“William Dazeley leads the cast with charisma as Wintergreen, doing an all-round good job of singing, dancing and acting.”
www.Musicalcriticism.com, 7 November 2008

“Dazeley is perfect as all-American President John P Wintergreen””
www.metro.co.uk, 9 October 2008

“William Dazeley deploys sufficient matinee-idol charm as the leading man.”
The Guardian, 7 October  2008

“Strong performances from William Dazeley as the wide-eyed Wintergreen.”
www.thestage.co.uk, 6 October 2008

“Suave turns from William Dazeley’s President”
The Observer, 26 October 2008

“Several members of the cast have returned from Opera North’s 1998 production, notably the assured William Dazeley as Wintergreen”
The Daily Telegraph, 8 October 2008

Scottish Opera – FALSTAFF (Ford)

“Above all, this was an ensemble performance of the sort Verdi intended, where no voice stood out over another – yet with Maria Costanza Nocentini as Alice, Leah-Marian Jones as Meg Page, Lucy Crowe as Nannetta, William Dazeley as Ford and Sally Burgess as Mistress Quickly it was full of fine touches, bound together by Peter Robinson’s vivacious, light-footed conducting.”
The Herald, 19 May 2008

“And a special word must be said for William Dazeley as Ford. In his scene of jealousy in Act II, he generated a moment of tragic drama, the only one in the opera, singing with a real beauty of tone and gravity of manner.”
The Independent, 16 May 2008