Called “a voice for this historic moment” (The Washington Post), baritone Will Liverman continues to bring his compelling performances to audiences nationwide. Recipient of the Metropolitan Opera’s 2022 Beverly Sills Award, he will star in  the company’s reopening production of Terence Blanchard’s Fire Shut Up in My Bones in fall 2021, in addition to reprising his roles in Akhnaten (Horemhab) and The Magic Flute (Papageno) during the Met’s 2021-2022 season.

Following a summer at Opera Theatre of St. Louis and Aspen Music Festival, additional highlights of Will’s 2021-2022 season include the reprisal of Fire Shut Up in My Bones with Lyric Opera of Chicago, Florence Price’s Song to the Dark Virgin with Chicago Sinfonietta, Jonathan Dove’s Flight with The Dallas Opera, and Leonard Bernstein’s Mass as part of a 50th Anniversary Celebration at The Kennedy Center.

In February 2021, Cedille Records released Will’s Dreams of a New Day: Songs by Black Composers with pianist Paul Sanchez – a collection of works by Damien Sneed, Henry Burleigh, H. Leslie Adams, Robert Owens, Margaret Bonds, and Thomas Kerr, plus a world premiere recording by Shawn E. Okpebholo and Will’s own arrangement of Richard Fariña’s Birmingham Sunday. The album debuted at No. 1 on the Billboard Traditional Classical chart and The New Yorker praised its “clarity, sensitivity, and barely contained heartbreak” while NPR claimed “velvet-voiced baritone Will Liverman is out to make the classical music canon more inclusive”. His album Whither Must I Wanderwith pianist Jonathan King, out January 2020 on Odradek Records, was named one of the Chicago Tribune’s “best classical recordings of 2020” and BBC Music Magazine praised Will’s “firm, oaky baritone with a sharp interpretive attitude… admirable poise and clarity of intention.”

Will’s recent engagements include performing as the first ever Black Papageno in The Metropolitan Opera’s holiday production of The Magic Flute, in addition to its premiere of Philip Glass’ Akhnaten (Horemhab) and Nico Muhly’s Marnie (Malcolm Fleet). He also recently appeared as Pantalone in The Love of Three Oranges at Opera Philadelphia, as Silvio in Pagliacci at Opera Colorado, as Schaunard in La bohème with Santa Fe Opera, Dallas Opera and Opera Philadelphia; and as The Pilot in The Little Prince with Tulsa Opera. His new opera The Factotum, written together with DJ/recording artist K. Rico, was workshopped by the Lyric Opera of Chicago and the Ryan Opera Center in winter 2020. The Factotum, inspired by Rossini’s The Barber of Seville, takes place in a present-day Black barbershop in Chicago and combines operatic singing with hip-hop, barbershop, gospel, funk, neo soul, and R&B music.

Will Liverman has performed the leading role of Figaro in Rossini’s Il barbiere di Siviglia with Seattle Opera, Virginia Opera, Kentucky Opera, Madison Opera and Utah Opera. He originated the role of Dizzy Gillespie in Charlie Parker’s Yardbird with Opera Philadelphia, in addition to performing the role with English National Opera, Lyric Opera of Chicago, Madison Opera, and at the Apollo Theater. Other highlights include the role of Tommy McIntyre in the Lyric Opera of Chicago’s production of Fellow Travelers for its Lyric Unlimited initiative; Papageno in The Magic Flute with Florentine Opera and Central City Opera; his role debut as Marcello in La bohème with Portland Opera; his debut with Seattle Opera as Raimbaud in Le Comte Ory; Tarquinius in The Rape of Lucretiaand Beaumarchais in The Ghosts of Versailles with Wolf Trap Opera; Andrew Hanley in the world premiere of Kevin Puts’ The Manchurian Candidate with Minnesota Opera; Sam in The Pirates of Penzance with Atlanta Opera; the Foreman at the Mill in Jenůfa and the Protestant Minister in Menotti’s The Last Savage with Santa Fe Opera.

Expanding into the concert repertoire, Will performed the title role in a concert version of the Gershwins’ Porgy and Bess with the Orchestre Symphonique de Montréal, and was a featured soloist in Brahms’ Requiem with the Las Vegas Philharmonic, in Handel’s Messiah with the Seattle Symphony, in Carmina Burana with the Virginia Symphony Orchestra, and in Mozart’s Mass in C Minor with the Civic Orchestra of Chicago. He was also recently featured in the Sphinx Virtuosi concert at Carnegie Hall, in addition to appearing in Schubert’s Die Winterreise at The Barns at Wolf Trap.

Will is the recipient of the 2020 Marian Anderson Vocal Award, as well as a recipient of a 2019 Richard Tucker Career Grant and Sphinx Medal of Excellence. Will Liverman has received a 2017 3Arts Award, a George London Award, and was recognized as a classical division Luminarts Fellow by the Luminarts Cultural Foundation. In 2015, he won the Stella Maris International Vocal Competition, received the Gerda Lissner Charitable Fund Award, and received a top prize from Opera Index.

Will Liverman concluded his tenure at the prestigious Ryan Opera Center at the Lyric Opera of Chicago in 2015. He previously was a Young Artist at the Glimmerglass Festival. He holds his Master of Music degree from The Juilliard School, and a Bachelor of Music degree from Wheaton College in Illinois.

Seattle Opera – Il barbiere di Siviglia

Liverman’s warm, agile baritone was enhanced by a suave and savvy stage presence.”

Melinda Bargreen, Seattle Times

Portland Opera – La bohème

Will Liverman was an exemplary Marcello, handsome of voice, full of energy.”

Mark Mandel, Opera News

Virginia Opera – The Barber of Seville

Will Liverman as Figaro has a robust and rich tone and impressive rhythmic control, especially in the staccato runs, and an energetic, endearing charisma.”

Andrew Garrigue, Richmond Times-Dispatch

Atlanta Opera – The Pirates of Penzance

Baritone Will Liverman ably portrayed Samuel, the Pirate King’s sincere, earnest lieutenant.”

Mark Gresham, Arts Atlanta

Madison Opera – The Barber of Seville

The star of the evening was the young baritone Will Liverman in the title role of the barber Figaro. His voice has power and beauty throughout its impressive compass, including a ringing upper register to rival a tenor’s. Coupled with comic sensitivity and delightful physicality, Liverman must certainly be a singer to watch, and it is our fortune to hear him here.”

Jacob Stockinger, The Well-Tempered Ear

Opera Philadelphia – Charlie Parker’s Yardbird

Will Liverman was a vibrant Gillespie.”

Zachary Wolfe, The New York Times

“In the role of Parker’s famed friend and colleague, Dizzy Gillespie, baritone Will Liverman sings with both security and charisma.”

Patrick Clement James, Parterre Box

“Only in scenes with long-time collaborator and friend Dizzy Gillespie do we get an idea of Charlie Parker the musical genius and innovator. These scenes, with Will Liverman playing the beret-wearing Gillespie, crackle with electriciy, the singing of the two men achieving a truly jazzy interplay.”

Seten Pisano, Feast of Music

“And for the character of Dizzy Gillespie, sung by the eloquent baritone Will Liverman, who also showed fine legato.”

David Shengold, Opera News

“Baritone Will Liverman, made a promising company debut”

Andrew Moravcsjk, Opera Today

“When the trumpeter Dizzy Gillespie (Will Liverman) appears and he sings with Parker, his friend and colleague, it feels like a jam session.”

Heidi Waleson, Wall Street Journal

“Will Liverman as a mellifluous Dizzy Gillespie”

Anne Midgette, Washington Post

“Baritone Will Liverman realized the part vividly by finding deep crevices of meaning.”

Peter Dobrin, Philadelphia Inquirer

Wolf Trap Opera – The Ghosts of Versailles

Virginia Beach native Will Liverman made an earnest Beaumarchais.”

Charles T. Downey, Classical Voice America

Chicago Bach Project – St. John Passion

Baritone Will Liverman sang admirably in Debussy and Korngold selections.”

John von Rhein, Chicago Tribune

Minnesota Opera – The Manchurian Candidate

Will Liverman turns the cameo role of fellow soldier Andrew Hanley into a lovely showcase for his expressive voice.”

Todd O’Dowd, L’etoile Magazine

“Will Liverman had an effective cameo as Andrew Hanley.”

Heidi Waleson, The Wall Street Journal

Harris Theater – Beyond the Aria

Will Liverman showcased an authoritative baritone.”

Lawrence A. Johnson, Chicago Classical Review

“Then – and this was a major highlight of the evening – Liverman took over the piano and serenaded us as he played a composition he created by fusing together two works that spoke to the seasons – “If Ever I Would Love You” by Frederick Loewe and “All the Things You Are” by Jerome Kern.”

Amy Munice, Splash Magazine

Lyric Unlimited – The Magic Victrola

Baritone Will Liverman remains primus inter pares in the field of never-overdone comic performance and educational programs. His Papageno bird-man (yes, there was a Michael Keaton joke) kept the physical comedy going, and his strong singing and phrasing – in both English and German – drew the audience in.”

Andrew Patner, Chicago Sun-Times

“Liverman’s vocally and physically agile Papageno led a uniformly fine vocal contingent.”

John von Rheim, Chicago Tribune

South Shore Opera Company of Chicago – Concert

Will Liverman, currently a member of the Ryan Center at Lyric Opera, proved he’s a young baritone to watch. he took Figaro’s iconic aria “Largo al factotum” from Rossini’s “The Barber of Seville” and gave a fresh and relaxed performance, highlighting vocal agility and humorous ability. He followed thisup with a charismatic performance of the Toreador song from “Carmen” by Bizet.”

M.L. Rantala, Hyde Park Herald

Rising Stars at Lyric Opera of Chicago – Concert

Mr. Liverman has an excellent command of legato which he sustained throughout.”

Salvatore Calomino, Opera Today

Lyric Opera of Chicago – Barber of Seville

Will Liverman’s Fiorello had [us] wishing he was singing Figaro!”

Lawrence A. Johnson, Chicago Classical Review

Utah Opera – Barber of Sevile

Will Liverman sang the title role with warmth and a hint of mischief.”

Catherine Reese Newton, The Salt Lake Tribune