William Towers


"In the title role, the counter-tenor William Towers sang superbly, with power, dramatic confidence, ardour and sensitivity"

Stephen Pettitt, Opera Magazine

"William Towers as a thrillingly resonant Voice of Apollo"

Daily Telegraph

"Towers is clearly one of the most promising singers in his field at the moment"

Hugh Canning, Opera Magazine

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William Towers read English at Cambridge University and was a postgraduate scholar at the Royal Academy of Music. He appeared extensively as a soloist in Sir John Eliot Gardiner’s Bach Cantata Pilgrimage and his performances in the complete Bach series have been issued on CD.

His opera engagements have included roles at Royal Opera House Covent Garden, Teatro La Fenice Venice, Glyndebourne Festival, Oper Frankfurt, Göttingen Handel Festival, Gothenburg Opera, Linbury Theatre, La Monnaie Brussels, Aldeburgh Festival, Canadian Opera Company, National Theatre Prague, Teatro Real Madrid, Bregenz Festival, Opera Theatre Company, London Handel Festival, Music Theatre Wales and at Grange Park.

His oratorio and recital schedule has featured appearances in many major venues and festivals in the UK and abroad, including the BBC Proms, with distinguished conductors such as Sir Roger Norrington, Paul McCreesh, Richard Hickox, Laurence Cummings Emmanuelle Haïm, Barry Wordsworth, Stephen Layton and Jeffrey Skidmore. Orchestras he has worked with include the City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Bournemouth Symphony, RTÉ National Symphony Orchestra, Scottish Chamber Orchestra, City of London Sinfonia, Gabrieli Consort and Players, Monteverdi Choir and Orchestra, The Sixteen, Le Concert d’Astrée and Netherlands Bach Society. He has sung Orlando and Belshazzar in the US with Nicholas McGegan and Philharmonia Baroque.

Recent and current engagements include Unulfo Rodelinda at the Bolshoi Theatre in Moscow, Voice of Apollo Death in Venice for Staatstheater Stuttgart, Countertenor The Gospel According to the Other Mary at Theater Bonn, as well as appearing as Little James in a BBC Radio 3 recording of Harrison Birtwistle’s The Last Supper with the BBC Scottish Symphony Orchestra, and as a soloist with the London Concert Choir, Hanover Band, BBC National Orchestra of Wales and Yorkshire Baroque Soloists.

This biography is for information only and should not be reproduced.


BBC Symphony Orchestra (May 2014)

…all the singing was clear, steady and strong, but only Tomlinson and William Towers – a Bishop Baldwin with full, beautiful countertenor timbre and subtly shaped phrasing – did full justice to Birtwistle’s lyricism.

Andrew Porter, Opera Magazine

The Killing Flower

Music Theatre Wales (July 2013)

The two crucial encounters, with the duchess’s lover (the fine countertenor, William Towers) and with her accusing husband, are fine-tuned to a vast emotional range in a little space.

Hilary Finch, The Times ****


Oper Frankfurt (June 2013)

William Towers, as King Egeo, is one of the two luminous pure counter-tenors of this production.

Axel Zibulski, Frankfurter Allgemeine Zeitung

Too Hot to Handel

Armonico Consort

Too Hot to Handel, the Armonico Consort's romcom pastiche, had Buxton's audience eating out of its hand from the first note of counter-tenor William Towers's first recitative. With a tiny on-stage band, and music drawn from the operas Xerxes, Orlando, Giulio Cesare, Poro and Agrippina, this breezy, demotic two-hander sees Towers and soprano Yvette Bonner meet, fall in love, move in together, split up acrimoniously, comfort eat and reunite, with a little help from a lost dog, a bunch of balloons and a flurry of snowflakes. Beautifully sung by both leads

Anna Picard, The Independent

Towers has devised a modern boy-meets-girl-in-a-bedsit libretto to accommodate some of Handel’s most glorious numbers – from Giulio Cesare, Poro, Orlando, even a chorus from Messiah – into a tale of poignancy and (equally important) laughter. He justifies the idea by pointing out that, in the fashion of the time, Handel was just as shameless in pirating his own scores, or those of others. At this performance, another justification was surely the calibre of the finished product. The production talked down to no one, but fizzed from one aria to another…The singing duo was a delight: Towers and Yvette Bonner…Towers’ ‘Under the branches’ (from Orlando) was magical; his ratty, obsessive ’I’ll keep quiet’ typified this giddy match of updated text to Baroque aria; and his coloratura while mixing vodka and aftershave was a joy.

Roderic Dunnett, Opera Magazine

William Towers’ Opera Repertoire


The Tempest (Stephano)
La Giuditta (Ozia)


A Midsummer Night's Dream (Oberon)
Death in Venice (Voice of Apollo)


La Callisto (Endimione)


Flight (The Refugee)


Orfeo ed Euridice (Orfeo)


Agrippina (Ottone)
Giulio Cesare (Cesare / Tolomeo)
Lotario (Lotario)
Orlanda (Orlando / Medoro)
Ottone (Ottone)
Poro (Poro)
Rinaldo (Eustazio / Mago Cristiano)
Rodelinda (Unulfo)
Semele (Athamas)
Xerxes/Serse (Arsamenes)


Poppea (Ottone)


Mitridate (Farnace)
Ascanio in Alba (Ascanio)


Dido & Aeneas (Sorceress / Spirit)
Fairy Queen (Countertenor parts)


Orlando Furioso (Ruggiero)


Night at the Chinese Opera (The Military Governor)

William Towers Concert Repertoire


Cantatas (Complete)
Christmas Oratorio
Easter Oratorio
Lutheran Mass in G
Mass in B minor
St John Passion
St Mark Passion
St Matthew Passion


Chichester Psalms


Angel Fighter


Ode on the Death of Mr H.Purcell




Ode for the Peace of Utrecht


Belshazzar (Daniel)
Dixit Dominus
Foundling Hospital Anthem
Israel in Egypt
Joshua (Othniel)
Ode for the Birthday of Queen Anne
Samson (Micah)
Saul (David)
Semele (Athamas)
Theodora (Didymus)
Utrecht Te Deum & Jubilate


The Rio Grande


Coronation Mass


Carmina Burana


Stabat Mater


Come, ye Sons of Art
Hail bright Cecilia
Indian Queen
Now does the glorious day appear


David Pugna et Victoria (Saul)
Salve Regina


Nisi Dominus
Stabat Mater

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