Will Liverman’s career is a story of persistence, reinvention, and a deep commitment to artistic creation. Raised in Virginia, he first encountered music through his church, an early influence that shaped his connection to performance. Singing and playing piano became second nature, but it wasn’t until high school that he discovered opera. “I was introduced to it at the Governor’s School for the Arts, and that completely changed my path,” Liverman recalls. Since then, his career has taken him from those early days of discovery to the world’s most prestigious opera stages.

One of the defining moments of his journey came during the pandemic—a time of uncertainty for many artists. “We all lost everything,” he reflects. But amid the turmoil, a game-changing opportunity arose: the chance to audition for the Metropolitan Opera’s production of Fire Shut Up in My Bones by Terence Blanchard. The opera, which was moved up to open the Met’s post-pandemic season, marked a historic moment as the first opera by a Black composer performed at the Met. Liverman landed the lead role of Charles Blow, a performance that launched him into a new level of visibility. “It was a game-changer,” he says. “Being part of something that significant, at that time, was life-altering.”

Musical influences have played a crucial role in shaping Liverman’s artistry. He credits his high school teacher, Robert Brown, with introducing him to opera and instilling a deep appreciation for the craft. “He had a gospel background too, so there was this natural connection,” he explains. Another major influence was his first piano teacher, Martha Berryman, who encouraged him to apply for the Governor’s School in the first place. And closest to home, Liverman’s mother, a gospel singer, was a constant source of inspiration. “I grew up listening to her write music, sing in choirs—she was my first real model for what a musician could be.”

This season, Liverman is tackling a dynamic range of projects, showcasing his versatility as both a performer and composer. He began the season at the BBC Proms, performing Britten’s War Requiem—a dream come true for him. “To sing at the Proms, with an orchestra like that, doing a piece of that scale—it was surreal,” he says. He followed that with Peter Grimes at Dutch National Opera, a recital in Oxford, and several high-profile engagements across Europe and the U.S.

Beyond opera, he has been immersed in recording a new album of original art songs, setting poetry by Paul Laurence Dunbar and Alice Moore Dunbar-Nelson to music. The project builds on an EP he released two years ago, expanding it into a full-length album with eleven newly composed songs. “This has been in the works for a while, and I’m really excited to finally bring it to life,” he says.

His passion for expanding opera’s reach has also led to his most ambitious project yet: The Factotum, an opera he co-wrote, inspired by Rossini’s The Barber of Seville but set in a modern-day Black barbershop. Premiered at Lyric Opera of Chicago in 2023, the work merges opera, gospel, R&B, and hip-hop in a bold reimagining of the classic. Now, he’s heading to Portland Opera for a workshop, refining the piece further. “Creating an original opera is a journey,” he says. “Every premiere teaches you something, and we’re excited to dig deeper into the story.”

Returning to Lyric Opera of Chicago for La Bohème as Marcello holds personal significance for Liverman. “That house raised me,” he reflects. “I started in the chorus, then became a young artist, then premiered The Factotum there, and now I’m coming back in a major role.” For him, this return feels like coming full circle.

As an artist, Liverman is keenly aware of the challenges of visibility in today’s classical music world. “When I was coming up, recording albums was something only the biggest names with Deutsche Grammophon contracts did,” he notes. “Now, with technology, artists have so much more control—we can create and produce our own projects.” However, he acknowledges that with so many artists doing independent projects, standing out is a challenge. “The key is to focus on why you’re creating,” he advises. “If you stay true to that, the right audience will find you.”

Looking decades ahead, Liverman envisions a legacy that extends beyond performance. “I see myself shifting into artistic administration, maybe running a young artist program or casting operas,” he says. His experience coaching young singers at Tanglewood has sparked a passion for mentorship. “My dad was a teacher, and I think I have that gene too,” he says. “Giving back to the next generation feels like a natural step.” He also dreams of learning orchestration, setting up a recording studio, and championing new works. “I want to be part of shaping the future of opera,” he says. “Bringing new pieces into the canon, supporting other composers—that’s what excites me.”

Outside of music, Liverman’s passions reflect his love of creativity and problem-solving. He jokingly reveals that he can devour a massive breakfast in record time, a nod to his appreciation for good food. If he weren’t a musician, he imagines himself as a video game designer, even envisioning a game based on opera. “Opera meets RPG—I’d totally play that,” he laughs.

For Liverman, success isn’t about fame or accolades but longevity. “For me, it’s about staying in the game,” he says. “Finding ways to keep creating, keep growing, keep making art that matters.” With his work as a singer, composer, and advocate for new opera, he is building a career that is as impactful as it is innovative—one that will resonate for generations to come

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