Hailed by Das Opernglas as a “vocally powerful, technically impressive, dominant heroic tenor” and praised by Opera News for “his consummate mastery of Rossini’s style, range and vocal bravura,” American tenor Randall Bills has earned praise from audiences and critics for performances in opera and concert throughout the world.

He has earned particular acclaim in Mozart’s Die Zauberflöte as Tamino (Theatre Dortmund, Nationaltheater Mannheim, New Zealand Opera, Seattle Opera), Don Giovanni as Ottavio (Theater Bremen, Seattle Opera), and Cosi fan tutte as Ferrando (English National Opera, Teatro Lirico di Cagliair), and Rossini’s Armida as Geoffredo and Ubaldo (Rossini Opera Festival), Mose in Egitto as Osiride (New York City Opera), Il Barbiere di Siviglia as Almaviva (Oper Leipzig, Göteborgsoperan, Teatr Wielki Poznań), La Cenerentola as Ramiro (Opernhaus Chemnitz, Boston Youth Symphony, El Paso Opera), andRicciardo e Zoraideas Agorante (Rossini in Wildbad
Festival).
Donizetti’s La Favorité as Fernand (Washington Concert Opera), Don Pasquale as Ernesto (Staatstheater Darmstadt), Verdi's La traviata as Alfredo (Deutsches Nationaltheater Weimar), Stravinsky’s The Rake’s Progress as Tom Rakwell (Staatstheater Braunschweig and the Oldenburgisches Staatstheater), Britten’s The Turn of the Screw as Prologue/Peter Quint (Teatro Comunale di Bologna), and Strauss’ Der Rosenkavalier as the Italian Singer (Theatre Bremen, Deutsches Nationaltheater Weimar).

This season he returns to Teatr Wielki Poznań for performances of Tamino and Almaviva and debuts at the Stadttheater Gießen as Aarone i n Mosé in Egitto conducted by Vladimir Yaskorski in a new production from Franziska Angerer. Other recent operatic engagements have included his house and role debut as Conte di Libenskof in Rossini’s Il viaggio a Reims at Theater Aachen, directed by Michiel Dijkema conducted by Chanmin Chung, having previously debuted at the International Händel-Festspiele Karlsruhe as Jupiter in Semele conducted by Christopher Moulds in a production from Floris Visser, returned to the Rossini in Wildbad Festival as Aménophis in a new production of Moïse et Pharaon conducted by Fabrizio Maria Carminati directed by Jochen Schönleber and released on the Naxos record label, and returned to Teatr Wielki Poznań where he also made his role debut as Nemorino in L'elisir d'amore conducted by Katarzyna Tomala in a new production from Andrij Zholdak.

He has appeared as a guest of a number of orchestras, including the Houston Symphony (Orff’s Carmina Burana), Louisville Symphony (Berlioz’ Romeo et Juliette), Fresno Philharmonic (Beethoven’s Symphony No. 9), Naples Philharmonic (Britten’s Serenade for Tenor, Horn, and Strings and Beethoven’s Symphony No. 9), Pasadena Symphony (Mozart’s Mass in C-minor and Beethoven’s Symphony No. 9), Mainly Mozart Festival (Beethoven’s Symphony No. 9 and Mozart’s Davide penitente), Los Angeles Master Chorale (Handel’s Messiah, Bach’s Christmas Oratorio, and Mozart's Litaniae de venerabili), and Long Beach Mozart Festival Orchestra (Mozart’s Requiem).

European orchestra with whom he has appeared include the Hamburg Symphony Festival Orchestra (“Night at the Proms”), Kraków Filharmonia (Mahler’s Das Lied von der Erde), Bochum Symphony (Mozart’s Mass in c-minor), Verona Teatro Filarmonico (Mendelssohn’s Elias), Vahrer Kantorei (Rossini’s Petite Messe Solennelle), Sinfonieorchester Wuppertal (Mendelssohn’s Lobegesang and Weber's Freischütz-Messe), L'orchestra Sinfonica di Milano Giuseppe Verdi (Bach's Johannes-Passion), American University of Beirut Choir and Choral Society (Bach’s Magnificat and Händel’s Utrecht Jubilate). He has also appeared in Mexico with Philharmonic Boca del Río (Beethoven’s Symphony No. 9). Notable conductors with whom he has sung include Grant Gershon, Michael Guettler, Julia Jones, Jorge Mester, Richard Rosenburg, Jayce Ogren, Andrés Orozco-Estrada, Carl St. Clair, and Ralf Weikert.

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