Manager: Damon Bristo
Management Territory: Worldwide
“Another soprano who won big ovations, and deservedly so, was [Tamara] Wilson, who proved her splendid Elettra in Conlon's "Idomeneo" here in 2012 was no fluke. Her Anna came on like a veritable force of nature, her huge, gleaming, dramatic soprano absolutely nailing both arias. Her Ottavio, the fine Albanian tenor Saimir Pirgu, had all he could do to match Wilson's lava-flow vocalism in their scenes…” John von Rhein, Chicago Tribune, August 16, 2014 - Donna Anna in 'Don Giovanni' with the Chicago Symphony Orchestra at Ravinia
“Gulnara, an even bigger soprano role that Tamara Wilson carried off with a large, pointed, slightly metallic sound…Wilson and [Michael] Fabiano really showed their stuff in a duet that involved a lot of posturing (“I will free you from prison!” “I scorn your help!”) as a springboard to some enthralling Verdian fireworks.” Anne Midgette, Washington Post, March 10, 2014 - Gulnara in 'Il Corsaro' with Washington National Opera
“To be sure, parts of Il Trovatore were stellar and first and foremost on this list would be Tamara Wilson as the lovelorn Leonora. What's a girl to do when she's wooed by a count but loves a troubadour? Trapped in a love triangle and in the midst of a war, Wilson soars as if she might with only her voice tear open the prison doors to release her lover. Later, whispering to Manrico as she dies, a hush fell over the hall and we all strained in our seats to get closer.” Joseph Campana, CultureMap, April 27, 2013 - Leonora in 'Il trovatore' at Houston Grand Opera
American soprano Tamara Wilson is rapidly gaining notoriety for her interpretations of Verdi, Mozart, and Strauss with a voice that is a “veritable force of nature.” (Chicago Tribune)
Tamara Wilson makes her Metropolitan Opera debut in the title role of Aida and her role/house debut in the demanding title role of Norma at the Gran Teatre del Liceu in the 2014 – 2015 season. She returns to Oper Frankfurt for her first performances as the Empress in Die Frau ohne Schatten and for concert performances as Helena in Die Aegyptsiche Helena, which will . . . be recorded by Oehms Classics. Additionally, she returns to Palma de Mallorca to for further performances of Aida. In concert, she returns to the Ravinia Festival as Donna Anna in Don Giovanni under James Conlon and the Chicago Symphony Orchestra, a role she also debuts with Edo de Waart and the Milwaukee Symphony. Additionally, Ms. Wilson debuts with the Cleveland Orchestra in Beethoven’s Symphony No. 9 under Franz Welser-Möst, the National Symphony in Mendelssohn’s Symphony No. 2 (“Lobgesang”) with Matthew Halls and returns to the Baltimore Symphony in Mahler’s Symphony No. 4 with Marin Alsop.
Tamara Wilson added a new Verdi heroine to her repertoire when she returns to Théâtre du Capitole in Toulouse as Lucrezia Contarini in Verdi’s I due Foscari in the 2013 – 2014 season. In celebration of the Verdi bicentenary, she also debuted at Teatro de la Maestranza in Seville as Aida and with Washington Concert Opera in his rarely-heard Il corsaro as Gulnara alongside tenor Michael Fabiano as Corrado. She was heard in Britten’s War Requiem with the Baltimore Symphony Orchestra under Marin Alsop, as well as with James Conlon and the Colburn Orchestra as part of the Britten 100/LA celebration. Other concert engagements included Broch’s Moses with the American Symphony Orchestra at Carnegie Hall.
Other notable engagements include Elisabeth de Valois in the five-act French Don Carlos at Houston Grand Opera; Amelia in Un ballo in maschera at Washington National Opera, Houston Grand Opera, and Teatre Principal de Maó in Menorca, Spain; Leonora in Il trovatore at Houston Grand Opera, Théâtre du Capitole in Toulouse under Daniel Oren and Palma de Mallorca, Spain; Rosalinde in Die Fledermaus at the Canadian Opera Company; Alice Ford in Falstaff for her debut with Washington National Opera; Amelia Grimaldi in Simon Boccanegra at the Canadian Opera Company; the title role in Aida at Opera Australia; her German debut at Oper Frankfurt in concert performances of Wagner’s early opera Die Feen as Ada under Sebastian Weigle; Elettra in Idomeneo under Harry Bicket at the Canadian Opera Company and under James Conlon at the Ravinia Festival; Lady Billows in Albert Herring at Théâtre du Capitole; Konstanze in Die Entführung aus dem Serail at Houston Grand Opera; Malwina in Marschner’s Der Vampyr with the American Symphony Orchestra; Miss Jessel in The Turn of the Screw and the First Lady in Die Zauberflöte at Los Angeles Opera, both under James Conlon.
On the concert stage, Ms. Wilson made her Carnegie Hall debut with the Baltimore Symphony Orchestra under Marin Alsop in Honegger’s Jeanne d’Arc au bûcher, as well as appeared with the Saint Louis Symphony in Handel’s Messiah, Charlotte Symphony in Beethoven’s Missa solemnis, and returned to the Oregon Bach Festival in Tippett’s A Child of Our Time. Recently, she has been soprano soloist for performances of Missa solemnis with John Nelson and the Chamber Orchestra of Europe in Lisbon, which is available on DVD, as well as Mozart’s Requiem with Edo de Waart and the Milwaukee Symphony and Mendelssohn’s Symphony No. 2 (“Lobgesang”) with the Grant Park Symphony Orchestra. A favorite of the Oregon Bach Festival, she debuted in Verdi’s Messa da requiem under Helmuth Rilling for the opening of their 40th Anniversary season, subsequently returning for the same piece in Mo. Rilling’s final season as music director. She then returned to sing Brahms's Ein deutsches Requiem, Beethoven's Symphony No. 9 under Rilling, Marguerite in Jeanne d'Arc au bûcher under Marin Alsop, At the Oregon Bach Festival, and a concert of Verdi, Britten, and Wagner with Matthew Hall. She has toured Japan with Helmuth Rilling and Internationale Bachakademie Stuttgart in Beethoven’s Symphony No. 9.
An alumna of the Houston Grand Opera Studio, Ms. Wilson’s awards include the George London Award from the George London Foundation in which she was hailed for a “striking timbre all her own” (Opera News), as well as both a career grant in 2011 and study grant in 2008 from the Richard Tucker Music Foundation. Other notable awards include first place in the 2005 Eleanor McCollum Competition for Young Singers in Houston and finalist in the 2004 Metropolitan Opera National Council Auditions, among others. She was a featured soloist at the 2010 NEA Opera Honors in which she sang “Ernani, involami” from Verdi’s Ernani to honor recipient Martina Arroyo. In addition to her operatic and orchestral performances, Ms. Wilson is an avid lecturer of vocal technique. She has been a Guest Master Class Lecturer for the National Pastoral Musicians in the Chicago area. Ms. Wilson received her degree at the University of Cincinnati-College Conservatory of Music.
(Updated September 2014)