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About William Towers

See 3 performances featuring William Towers
Voice type: Countertenor
Past performances in our database:
Orlando in Orlando, HWV 31 (Independent Opera, 2008)
Ottone in L'incoronazione di Poppea, SV 308 (Madrid Opera, 2012)
Ruggiero in Orlando Furioso (Oper Frankfurt, 2010)
Voice of Apollo in Death in Venice (Canadian Opera, 2010)

Read our reviews

Date and venueTitle
15-Mar-2013
St George's Bristol
The Imperfect Pearl: Mark Latimer stages Domenico Zipoli's life and works at St George's Bristol
On hearing about the concept of Mark Latimer’s The Imperfect Pearl or Perola Barroca, I wasn’t sure what to expect. This UK première told the tale and music history of Baroque composer Domenico Zipoli in a two-and-a-half-hour show. An open mind was certainly necessary for this Baroque musical fairytale. I walked into the venue to see a piano and music stands on the left of the stage, a huge grey panel that looked like a giant wall in the middle, with a large pile of wooden trunks and a homemade harpsichord with papers on as part of the set on the right of the stage.
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22-Oct-2011
Glyndebourne Opera House
Glyndebourne's Rinaldo on Tour
Image credit: Joshua Hopkins and Elizabeth Watts © Alastair MuirGlyndebourne has a great track record with staging Handel’s works. In recent years, there have been great productions of Theodora, Rodelinda and Giulio Cesare, all of which have proved equally popular at subsequent revival and Glyndebourne on Tour (GTO) productions as well. This year, at the festival and now on tour, Glyndebourne staged a new production of Handel’s Rinaldo, his first opera for the London stage which excited audiences exactly three hundred years ago.
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25-Aug-2011
Royal Albert Hall
Glyndebourne's Rinaldo comes to the Proms
Image credit: © BBC / Chris ChristodoulouLondon audiences had never seen anything quite like it. Fireworks, fountains and live sparrows were just a few of the special effects livening up the premiere of Handel's Rinaldo way back in 1711, prompting the Spectator's critic to compare it sniffily to a Punch and Judy show. Fast forward two hundred years, and you might wonder if there's been any progress. The restrictions of the Royal Albert Hall stage, just an open dais set behind the orchestra, rule out anything too adventurous. So the only water was a blue tarpaulin, and the tweeting birds were digitally remastered.
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