“Being able to experience her variousness at close quarters is a privilege when the soprano is as electrifying and engaged as Chrystal E Williams (pictured above with Eric Greene and below with Brendan Gunnell). Every top note is a full flare, not easy in a role with a taxingly high tessitura…”
David Nice

“The mezzo-soprano Chrystal E Williams deserved her roars of praise for her portrayal of Katerina, fearless and expressive, raw but nuanced.”
Fiona Maddocks 16 March 2019

“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

Lady Macbeth of Mtsensk Reviews 2019
“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

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

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.”