The New Definition of Diva: Chrystal E. Williams
https://www.csmusic.net/content/articles/the-new-definition-of-diva-chrystal-e-williams/

“Christian Thurston and Chrystal E. Williams were the dynamic duo of Stewards for the “Minnepost Airlines”. They perfectly embodied the face splitting smiles and charms of stewards of all airlines.”
Callie Cooper

Chrystal E. Williams’ Biggest Talent May Be Giving to Others
https://www.google.com/amp/s/classicalpost.com/read/2019/12/16/chrystal-e-williams-biggest-talent-may-be-giving-to-others%3fformat=amp

 

“Chrystal E Williams’s Katerina is sensuously sung – the voluptuous promise of her middle-register absolutely fulfilled at the top.”  Alexandra Coghlan, Inews 2021

“Being able to experience her variousness at close quarters is a privilege when the soprano is as electrifying and engaged as Chrystal E Williams … Every top note is a full flare, not easy in a role with a taxingly high tessitura…”
David Nice, The Arts Desk

“The mezzo-soprano Chrystal E Williams deserved her roars of praise for her portrayal of Katerina, fearless and expressive, raw but nuanced.”  Fiona Maddocks, The Guardian

“One difference this time came with the venue itself: marginally smaller and warmer than BOC’s usual disused factories, it turned out to have a pretty decent acoustic. That meant that the quiet moments actually worked — never a given with these promenade productions — and we could hear just enough compassionate softness in Chrystal E. Williams’s steely, seductively phrased Katerina to make her into a character rather than a cartoon.”
Richard Bratby, The Spectator

“Chrystal E Williams lights up the room as the gloriously murderous Katerina. It’s a nice touch that Block 9’s eclectic costume designs have her initially dressed in West African-style fabrics with gaudy prints of fungus and rodents – her first victim, her father-in-law, will be seen off in the kitchen with rat poison in his mushroom stew. Later, alone in her wedding dress on the ballroom floor, she holds the audience rapt with her aria of broken-hearted disillusionment.” Erica Jeal, The Guardian

“As Katerina (the Lady Macbeth of the title), Chrystal E Williams is purringly magnificent – a gorgeous creature who is desperate for more action than her weedy husband (Joshua Stewart) and leering father-in-law (Eric Greene, a velvet-voiced bully) can provide.”
Amanda Holloway, The Stage

Rebecca Parker in Charlie Parker’s YARDBIRD 2018
“Mezzo Chrystal E. Williams, the only artist who sang in the Philadelphia premiere and the Phoenix production, was a knowing Rebecca. As the first Mrs. Charlie Parker, she sang with a sultry sound as she proved she knew all of her husband’s tricks.”
Maria Nockin

“Chrystal E. Williams [gave] a recital of such artistic scope as to belie its mere one-hour duration. Williams…responded with great plasticity – of sound, stylistic treatment, of emotion. She is a singer of rare power and clarity….Williams beautifully controlled the balance between delicacy and digging deep down for drama. Parts of [Berlioz’s Les nuits d’été] leave singers exposed, and Williams made easy work of both moments that required coming in out of nowhere, as well as sneaking in with velvety sound. There is a certain raw, unguarded color some singers find in Falla’s Siete canciones populares Españolas, and Williams inched right up to it….the real stunner was John Musto’s Shadow of the Blues… It was here – in the reassurance of Williams’ sensitive inflections – that you could hear America in all of its complexity and contradiction.”

“Mezzo-soprano Chrystal E. Williams sang and acted the sultry Dulcinée to perfection…she has a tremendous amount of range as an artist. But the most amazing thing about Williams, besides the fact that she can sing virtually any role, is her physicality. She knows how to use her body as an instrument as well as she uses her voice, and she has an effortless grace whenever she is on stage that makes her a pleasure to watch.”

“Some performers can cut loose best in the singing. Chrystal E. Williams pulls off the raunchy Broadway-style number ‘Who’ll Buy’ with such gutsiness infused with grace that she’s downright honey-luscious as she basks in the radiance of her own sexuality and vocal heat. As a result, Williams new-mints this kind of song and uplifts its sentiments…” —dctheatrescene.com
“Mezzo-soprano Chrystal E. Williams’ Rosina…set us back on our heels with the sweet and cautionary ‘Una voce poco fa.’ Lithely negotiating the coloratura demands before descending into a robust low register, Williams let us know that she was 
 far more than a pretty face.”