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Der Rosenkavalier:

“Wilson’s pensive Marschallin 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. This Rosenkavalier was clearly her show.”
Opera News, January, 2005

“Wilson’s Marschallin was sophisticated and poignant, knowing and vulnerable.  She is the Marschallin of one’s dreams, her work nothing less than a triumph.”
The Vancouver Sun, 2004

The elegant nuance of Wilson’s delivery defines both her sophistication and her emotional maturity. That her sound is beautiful too we almost take for granted.”
Vancouver Globe and Mail, 2004

“Carol Wilson brought tears to the eyes of even the most hard-boiled opera veterans in the audience with her Marschallin role debut. Her monologue first entirely personal swan song at the end of Act I was a masterly performance, very warm and feminine. This singer not only has charisma, she radiates an aura around herself. Rarely has it been so clear that the gracefully aging Marschallin is the most solitary female figure in the entire opera repertoire.”
Lübecker Nachrichten, 2003

Die Meistersinger:

“A luminescent Eva: Carol Wilson’s Eva was endowed with a delicate presence and a luminescent soprano.”
Rheinische Post, 2000

“Her inner dialogue with Hans Sachs in Act II…was beautiful. Wilson sang the blessing for the new master song at once ceremoniously and yet so full of warmth, that the emotional meaning of the song was completely clear.”
Westdeutsche Zeitung, 2000

“Ms. Wilson created the role of Eva 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.”
Veit Pogner Foundation, Nürnberg, 2004

“Carol Wilson’s Eva was the very picture of the desirable daughter who knew how to gain favor by means of her flexible, bright, youthful soprano voice, sensitive acting, and ardent demeanor.”
Der neue Merkur, 1999

“Eva is usually sung by timid lyric sopranos….Carol Wilson is the total opposite. She is deeply passionate, warm-blooded young woman, who wants her prince. The sound of her voice indicates that we will hear her later in bigger Wagner roles.”
Torstai, 2002

Fidelio:

“Carol Wilson exudes energy, bounding about the stage and proving she’s a strong actor who’s also endowed with a voice of rare purity.”
Straight.com, 2008

“Soprano Carol Wilson ennobled every note she sang with passion and wonderfully pure singing.”
Canwest.com, 2008

“Soprano Carol Wilson in the title-role is a compelling Leonore, committed and in fine voice, playing the trouser role and then the vulnerable wife, deeply moved and deeply moving.”
Reviewvancouver.org, 2008

Die tote Stadt:

“Wilson’s Marietta is wonderful, touching and understandable, with a warm timbre—the vamp who becomes a real person.”
Svenska Dagbladet, 2003

“The public’s enthusiasm for Carol Wilson’s Marietta was tremendous.”
Aftonbladet, Stockholm, 2003

Der Freischütz:

“Among the singers, the standout was Carol Wilson as Agathe, with her velvety soprano, silvery overtones, and wonderful pliant phrasing. She gave her arias a Mozartean depth that allowed them to resonate outside of the tight little box of the story, easily elevating this production.”
Vancouver Globe and Mail, 2005

“Wilson, in particular was outstanding. Her clear, ringing soprano soared throughout the hall.  Emotive and delicate, she displayed a great ability to shift the colour and texture of her voice.”
The Georgia Straight, Vancouver 2005

Capriccio:

“Carol Wilson embodied the Countess as muse with clear conviction. Wilson’s acting was extremely elegant and sparkled with charm and esprit.”
Westdeutsche Zeitung, 2003

Tiefland:

“Carol Wilson embodied the abused and desperate Marta, withdrawn but vocally impeccable. Most at home in lyric roles, Carol Wilson impressively demonstrated in Tiefland the required skills and experience in the dramatic category.”
IOCO – Kulturportal im Internet, 2008

“Carol Wilson sang and played a touching Marta. In spite of her slender figure she managed a great dramatic sound.”
Operagazet.be 2008

Così fan tutte:

“Carol Wilson was a Fiordiligi who knew how to combine beauty of voice with inner tension.”
Neue Ruhr Zeitung, 1999

“Carol Wilson proves herself to be a formidable Fiordiligi with many touching moments. Her “Per pieta” conveyed rich and beautiful shadings, wholeheartedly fulfilling Mozart’s sphere.”
Rheinische Post, 1999

L’Orfeo

“Carol Wilson sings the double role of La Musica/La Speranza with ravishing suppleness of expression. She allowed her voice to flow completely free, and moved with every dynamic nuance to the highest niveau.”
Opernwelt, 2001

“Carol Wilson as La Speranza and La Musica sang with vibrant emotionality and extraordinary tonal beauty.”
Die Welt, 2001

Was ihr wollt:

“Carol Wilson’s Olivia had dramatic passion.”
Westdeutsche Zeitung, 2001

“Carol Wilson sang Olivia’s song with grandiosity.”
Westdeutsche Allgemeinen Zeitung, 2001