Wiliford['s] nimble grace and pure tenor are a delight.
Glenn Sumi, Now Magazine, 2014 (Persée)
Haute-contre tenor Lawrence Wiliford was a powerful and passionate Myrtil, dazzling in his runs …
Jeffrey Gantz, Boston Globe, 2014 (La Guirlande)
The large ensemble cast was delightful, though Lawrence Wiliford was a standout in the title role—not just as a tenor, but also as an actor. He was meek and pitiful after Albert’s overbearing mother (mezzo Rebecca Hass) and the committee’s domineering Lady Billows (played by superb soprano Sally Dibblee) bullied him into taking on the May King title. But as the story unfolded, he transformed into a hilarious drunk—withering helplessly into his seat, his legs folding like pretzels when he later tried to walk down the street
In the title role, tenor Lawrence Wiliford excelled in Albert’s darker moments. [H]is second act turn as a drunk and frustrated Albert (a cheeky male version of the conventional mad scene) was spectacular, with just the right touch of bitter desperation to move from comic turn to psychodrama.
David Gordon Duke, The Vancouver Sun, 2013 (Albert Herring)
The lead figure of the Passion is the role of the Evangelist, who narrates the story of Jesus’ betrayal, trial, crucifixion and death. Lawrence Wiliford was astounding in this role. His tenor voice took on the various characters demanded by the Biblical text — from simply “moving the plot along” to passionate pleading to intense cries of fervor; the vocal timbre drew from a seemingly infinite number of colors and affects, all in clearly enunciated German
Timothy H. Lindeman, CVNC Online Arts Journal, 2013 (Johannes Passion)