Tamara Wilson

2016 Richard Tucker Award Recipient

— Soprano

“Soprano Tamara Wilson fully inhabited her dual role as the prima donna turned Ariadne. Her portrayal of the snarky, offended artist was a delight, and the awakening she went through in the “opera” was a sumptuous vocal feast. Just as her character found a new love of her life (and after-life), Wilson reminded opera lovers of their reason for being.”
Zachary Lewis, The Plain Dealer – ‘Ariadne auf Naxos’ with the Cleveland Orchestra

"But nowhere were the vocal thrills more copious and unerring than in Wilson’s portrayal of Leonora, who has fallen in love with Manrico, a man loathed and envied by the powerful Count di Luna…Wilson’s immense sound, supple instrument and comprehensive technique may have explained why her paramour Manrico was smitten in the first place. Who wouldn’t be? The ravishing, pianissimo high notes Wilson offered in “Tacea la notte placida” and the impeccable trills and other ornaments she articulated in “Di tale amor che dirsi” gave the opera’s first act the pyrotechnics it demands… In the end, though, this “Trovatore” hinged on Wilson’s and Barton’s imposing vocals, which will be remembered long after the rest is forgotten."
Howard Reich, Chicago Tribune, November 18, 2018 - Leonora in 'Il trovatore' with Chicago Lyric Opera

“And in the American soprano Tamara Wilson as Leonora, ENO have struck gold: I can’t remember when this auditorium last resounded to a major Verdi role sung with such majestic beauty. Wilson has the power to ride effortlessly over the chorus singing fortissimo, and the artistry to create sublime magic with her harp-accompanied closing aria.”
Michael Church, The Independent - Leonora in 'La forza del destino' at the English National Opera

“It's not often you think you detect a future Brünnhilde in a soprano performing a great Verdi role, but that was the case when American Tamara Wilson made her UK debut last autumn as a stunning Leonora in the ENO production of Verdi's The Force of Destiny. So would she sing the Ring? Not for 10 years at least, she said. But then Mark Wigglesworth, a conductor she knew she could trust as partner, proposed the final scene of Die Walküre at the Proms, and the rest should go down in history… You couldn’t fault her in verbal intelligence, subtlety and every readable reaction in that beautiful face when she wasn’t singing; but above all it’s the placement of the extraordinary instrument, never too low that it makes any singing in the higher register effortful, which should see her through to a sustained career in the big Wagner roles (though there’s no reason why she shouldn’t keep on singing Mozart and bel canto too).”
David Nice, The Arts Desk - Act 3 of 'Die Walküre' at the BBC Proms

“Ms. Wilson’s voice is most arresting in the laserlike authority of her high notes, but she softens the steel for sensitive moments, as when she dreams of escape with Radames in the third act. Her voice blooms with her palpable involvement in her own story: Her singing is urgent, her physical performance restrained yet powerful…[T]he Met has unveiled a young American who sings Verdi with a passion that surpasses stereotype.”
Zachary Woolfe, New York Times - Metropolitan Opera debut as Aida


With a voice that is a “veritable force of nature” (Chicago Tribune), American soprano Tamara Wilson is quickly gaining international recognition for her interpretations of Verdi, Mozart, Strauss and Wagner. She is the 2016 recipient of the prestigious Richard Tucker Award from the Richard Tucker Music Foundation and Olivier Award nominee.

In the 2018-2019 season, Tamara Wilson will return to the Metropolitan Opera to sing the title role in Aida conducted by Nicola Luisotti and makes her mainstage debut at Teatro alla Scala in a new production as the Prima Donna/Ariadne in . . .

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