“William Raskin (Casanova/Calaca) was yet another terrific [baritone], his instrument flexible and engaging.” — Opera Today
| “I want to bring opera back to its essence: going on stage, baring your soul with beautiful music, and trusting that is enough,” says Baritone William Raskin. He caught the eye of the Athlone Artists team at the Glimmerglass Festival’s Industry Day. “He sang ‘The Tower Scene’ from Debussy’s Pelléas et Mélisande, and the authenticity of his performance blew me and Miguel away. It was genuine,” says Ellen Hardcastle, head of the vocal division at Athlone Artists. William is fresh off his successful summer at Glimmerglass, displaying his “flexible and engaging” (Opera Today) voice in performances of The House on Mango Street as Casanova. He also covered the roles of Mr. and Lee Randolph in Sunday in the Park with George. This fall, William is set to star in the world premiere of Glen Cortese’s 221B: A Sherlock Holmes Opera in the role of John Watson, presented by the University of Northern Colorado. Last season, he covered the Official in Il barbiere di Siviglia with Sarasota Opera, sang Schaunard inLa bohème with the Janesville Choral Union, and joined Ohio Light Opera as Giuseppe Palmieri in The Gondoliers and Armand Brissard in The Count of Luxembourg. Other recent roles include Billy Bigelow (Carousel), Giove (La Calisto), Figaro (Il barbiere di Siviglia), Guglielmo (Così fan tutte), and Dandini/Don Magnifico (La Cenerentola). Praised for his “vocal agility and tenderness” (Cleveland Classical), William’s introduction to singing was almost prophetic. “In the third grade, we were all required to take choir class. Part of that included being in the annual musical.” In his very first performance, William was cast as Lorenzo Belcanto, an Italian opera singer who sings an aria about his dog, Figaro, to the tune of “Largo al factotum.” We are lucky to have proof on video. He credits his oracular choir teacher, Mrs. McClanahan, for instilling a strong work ethic. “She wanted us to be good. It felt like being part of something magical.” Despite this serendipitous beginning, William gravitated toward classical piano lessons rather than singing on stage. “All throughout high school, I was known as a pianist, not a singer. After piano, it was dance.” William studied both piano and vocal performance at the University of Wisconsin–Madison before deciding to pursue voice full-time. Even though he had a demanding course-load, he consistently took ballet and jazz classes through the UW-Madison Dance Department. Described as “a real terpsichorean talent” (Operetta Research Center), William has appeared as a featured dancer in The Rake’s Progress (The Glimmerglass Festival) and Jake Heggie’s Two Remain (UW–Madison). He has also performed in The Nutcracker as the Party Father/Russian Corps (Madison Ballet) and the Harlequin/Cavalier (The Dance Factory). In addition to ballet and jazz, his training also includes tap, hip-hop, and modern.  Last year marked a meaningful milestone for William: his adoption. You can read more about his story here. His parents, Nicole and Neal Raskin — his former high school English and music teachers — have been two of the most influential people in his life. “Opera is truly the intersection of literature and music. You have the libretto and the score, and that’s how my parents are. It’s only fair that I turned into an opera singer because they are two formative people in my life who paved the road—not only in my musical career, but in my personal life and everything else.” At UW–Madison, William studied with baritone Paul Rowe. “He shaped my voice into what it is today. His philosophy of music was ‘just sing’—and to trust your voice.” Now, authenticity is one of William’s main tenets. “Authenticity on stage is a hard thing. You must own who you are, what you believe in, and be willing to answer for it.” He appeared as the baritone soloist in the world premiere of Dr. Bill Banfield’s Symphony No. 14: Revelation. Working directly with the composer marked a defining moment in his artistic journey, unveiling his passion for both innovative repertoire and collaborative artistry. Equally interested in musical theater, his notable roles include Fabrizio Naccarelli in The Light in the Piazza, Harry the Horse in Guys and Dolls, and Giuseppe Palmieri in Gilbert & Sullivan’s The Gondoliers. “Right now, the repertoire that feels like home is lyric opera, as well as musical theater,” though William devours dramatic and verismo repertoire recordings, and is looking forward to being able to sing heavier roles in time. “I love that repertoire because it’s real and honest. It is about real people experiencing real emotions. When I see those scenes, I see myself. I see reflections of who I am and what it is to be human.” William is dedicated to community engagement through the arts, often collaborating with the Janesville Choral Union, the Wisconsin Chamber Orchestra, and the Madison Savoyards. When he’s not immersed in score study, William enjoys sharpening his piano and dance chops, and spending as much time outdoors as possible — whether hiking, camping, or roller skating. |
