Manager: Damon Bristo
Management Territory: Worldwide
“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
“Wilson made a stunning Ravinia debut as Elettra...Most singers who take on this demanding role play Elettra as a shrieking harpy, but Wilson never pushed her plush, voluminous soprano to ugly effect, conveying the princess' fury with the needed spinto thrust but softening the sound for an affecting "Idol mio, se ritroso," in which Elettra imagines a happy life in exile with Idamante.” John von Rhein, Chicago Tribune, August 18, 2012 - Elettra in 'Idomeneo' with the Chicago Symphony Orchestra at the Ravinia Festival
“With a voice of steely beauty and great power,” (Houston Chronicle) soprano Tamara Wilson was recently the grand prize winner of the 48th Annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain.
Tamara Wilson adds 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 will also debut 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 will also be 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 include Broch’s Moses with the American Symphony Orchestra at Carnegie Hall. Future seasons will see her in the roles of Verdi, Bellini, Mozart, and Strauss at the Oper Frankfurt, Gran Teatre del Liceu, Théâtre du Capitole, Teatro Real de Madrid, Los Angeles Opera, and Houston Grand Opera.
In the 2012 – 2013 season, Ms. Wilson returned to the Canadian Opera Company as Rosalinde in a new Christopher Alden production of Die Fledermaus conducted by Johannes Debus, Théâtre du Capitole as Lady Billows in a new production of Albert Herring, and Houston Grand Opera as Leonora in Il trovatore. In concert, she debuted with the Saint Louis Symphony as soprano soloist in Handel’s Messiah and was heard with Helmuth Rilling in Verdi’s Messa da requiem on tour with Internationale Bachakademie Stuttgart. Additionally, she returned to Carnegie Hall as Malwina in Marschner’s rarely-heard opera Der Vampyr with the American Symphony Orchestra. At the Oregon Bach Festival, she performed works of Verdi and Wagner in concert with Matthew Halls and was heard as soprano soloist in Beethoven’s Missa solemnis with Helmuth Rilling.
Other notable recent 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 Théâtre du Capitole in Toulouse under Daniel Oren and Palma de Mallorca, Spain; 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; Konstanze in Die Entführung aus dem Serail at Houston Grand Opera; 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 Eugene Concert Choir in Britten’s War Requiem, 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. She then returned to sing Brahms's Ein deutsches Requiem and Beethoven's Symphony No. 9 under Rilling, as well as Marguerite in Jeanne d'Arc au bûcher under Marin Alsop. 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 March 2014)