Tamara Wilson

Tamara Wilson

Vocalists — Soprano

“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, December 30, 2014 - Metropolitan Opera debut as Aida

“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


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 . . .

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