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Soprano Carol Wilson made her international opera debut as Fiordiligi at the Deutsche Oper am Rhein in 1999 and, as one of their principal soloists, performed a number of roles including Eva in Die Meistersinger von Nürnberg, the title role in Ariadne auf Naxos, Kaiserin in Die Frau ohne Schatten, Elisabeth in Tannhäuser, Leonore in Fidelio, Senta in Der fliegende Holländer, Countess Madeleine in Capriccio, and most notably, Marschallin in Der Rosenkavalier, a role for which she has won much critical acclaim.

Carol Wilson’s performances have been described as possessing “extraordinary tonal beauty and a captivating embodiment of her character”. Her 2004 debut at Vancouver Opera in Der Rosenkavalier was hailed by Opera News as a pensive Marschallin, which stood out dramatically and vocally as a real, complex character among caricatures.  She sang her monologue with great authority and a timbre that occasionally recalled Schwarzkopf’s…clearly making this Rosenkavalier her show.”

With her slender, youthful figure and lustrous voice, Carol Wilson is ideally suited to the role of romantic heroine in the German operatic repertoire.  Of her Eva in Die Meistersinger the Veit Pogner-Foundation Nürnberg wrote: “Ms. Wilson’s Eva was created in such a convincing way as we have never before experienced. Her interpretation made this new appreciation possible, and moved at least one audience member to tears.”  Her 2008 role debut as Marta in Tiefland at the Deutsche Oper am Rhein “embodied the abused and desperate Marta, withdrawn but vocally impeccable…impressively demonstrating the required skills and experience in the dramatic category.” In the 2008 premiere of Fidelio with Vancouver Opera her Leonore “ennobled every note with passion and wonderfully pure singing.”

Ms. Wilson possesses a unique vocal versatility, enabling her to move easily from the more dramatic Wagner and Strauss roles to those of Mozart and Handel. She has appeared in theaters internationally as Contessa Almaviva in Le Nozze di Figaro for Manitoba Opera, Donna Elvira in Don Giovanni for Staatstheater Stuttgart and Staatstheater Nürnberg, in the title role of Handel’s Alcina in Stuttgart, as well as the title roles in Monteverdi’s L’incoronazione di Poppea directed by Christoph Loy, and Gluck’s Iphigenie auf Tauris with the Pina Bausch Dance Theater Wuppertal. Additionally, her operatic repertoire includes Desdemona in Verdi’s Otello, Tatiana in Eugene Onegin, Agathe in Der Freischütz, and Alice Ford in Falstaff.

In 2003 she was invited by Gerard Mortier to perform selections from Aida and Don Carlos in the Ruhr-Triennale’s Sentimenti.  Engagements at major opera houses in Europe, North America and Asia include Oper Frankfurt, Semperoper Dresden, National Theater Taipei, Staatstheater Stuttgart, Staatsoper Hannover, Vancouver Opera, Manitoba Opera, Oper Bonn, Staatstheater Nürnberg, San Francisco Opera, Netherlands Opera, and most recently with the Metropolitan Opera where she was responsible for the Marschallin.

Among her concert engagements in the United States are those with the Orchestra of St. Luke’s with Maestro Julius Rudel, the American Symphony Orchestra with Maestro Leon Botstein, the Brooklyn Philharmonic, the St. Luke’s Chamber Orchestra at the Caramoor Festival, the Vancouver Festival with Maestro Jonathan Darlington, and the Contemporary Chamber Ensemble.

An advocate for 20th and 21st century repertoire, Ms. Wilson made role debuts as Olivia in Manfred Trojahn’s opera Was ihr wollt, and Marietta in Die tote Stadt with the Royal Opera in Stockholm.  Her extensive chamber music credits include Schoenberg’s Pierrot Lunaire, the soprano solo in his Second String Quartet, Erwartung at the Concertgebouw, as well as Boulez’ Pli selon Pli, Samuel Barber’s Knoxville, Tenn., 1915, A mirror on which to Dwell, and works by Webern, Berg, Luciano Berio, and Joseph Schwantner.

A graduate of the Yale School of Music with the degree Doctor of Musical Arts, Ms. Wilson was awarded their Music Alumni Association Prize.  Her undergraduate Alma Mater, Iowa State University, recently conferred upon her both the Dean’s Arts and Humanities Medal and the Outstanding Alumni Award.

Ms. Wilson has an extensive teaching background, having served on the voice faculties at Vassar College and Sarah Lawrence College, among others.  Currently she works with private students in Duesseldorf, leads master classes internationally, and collaborates on various artistic projects in the U.S.

She divides her time between homes in Duesseldorf and New York City, where she lives with husband, baritone Peter Becker.