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Keri-Lynn Wilson is a regular guest conductor at leading international opera companies and orchestras. In the 2014/15 season she acted as Music Director of the National Slovenian Philharmonic. Her further engagements in 2014/15 included Puccini’s La Fanciulla del West at the English National Opera, Aida in Astana, Verdi’s Attila in La Coruna and an open air performance of La Bohème as well as an opera gala concert with the NDR Radiosinfonieorchester in Hannover. Recently she conducted Madama Butterfly at the Bavarian State Opera, Il Trovatore in La Coruna, Otello at the Montreal Opera and The Flying Dutchman in Warsaw. Future projects are among others Don Carlo in Moscow, Don Giovanni in Bilbao and Tosca in Toronto. Highlights of the 2013/14 season were Un Ballo in Maschera in Stockholm with the Royal Swedish Opera, Madama Butterfly in Tokyo in her debut at the New National Theater, and her return to the Bavarian State Opera in Munich. In the 2012/13 season, Ms. Wilson made her debut at the Zurich Opera, conducting Lady Macbeth of Mtsensk and La Traviata. She also conducted Flying Dutchman at the Montreal Opera, Nabucco in La Coruna, La Traviata in Bilbao, Eugene Onegin in Warsaw, and

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Keri-Lynn Wilson is a regular guest conductor at leading international opera companies and orchestras. In the 2014/15 season she acted as Music Director of the National Slovenian Philharmonic. Her further engagements in 2014/15 included Puccini’s La Fanciulla del West at the English National Opera, Aida in Astana, Verdi’s Attila in La Coruna and an open air performance of La Bohème as well as an opera gala concert with the NDR Radiosinfonieorchester in Hannover. Recently she conducted Madama Butterfly at the Bavarian State Opera, Il Trovatore in La Coruna, Otello at the Montreal Opera and The Flying Dutchman in Warsaw. Future projects are among others Don Carlo in Moscow, Don Giovanni in Bilbao and Tosca in Toronto.

Highlights of the 2013/14 season were Un Ballo in Maschera in Stockholm with the Royal Swedish Opera, Madama Butterfly in Tokyo in her debut at the New National Theater, and her return to the Bavarian State Opera in Munich.

In the 2012/13 season, Ms. Wilson made her debut at the Zurich Opera, conducting Lady Macbeth of Mtsensk and La Traviata. She also conducted Flying Dutchman at the Montreal Opera, Nabucco in La Coruna, La Traviata in Bilbao, Eugene Onegin in Warsaw, and made her debut at the Schleswig-Holstein Musik Festival with the NDR Radiophilharmonic Orchestra (Turandot). Other recent engagements include her debut with the Swedish Opera in Stockholm (Pique Dame), La Traviata in Salerno, Otello in Bari, and Boris Godunov in Tel Aviv.

In the past,  Ms. Wilson has conducted Tosca, Madama Butterfly and La Traviata at the Vienna State Opera; Lucia di Lammermoor at the Kirov (Mariinsky); La Traviata and Tosca at the Bavarian State Opera Munich; Turandot, Madama Butterfly, Tosca and La Bohème at the Puccini Festival in Torre del Lago; Il Barbiere di Siviglia in Florence; Otello and Tosca in Nice; Aida in Rome; Lucia di Lammermoor in Turin; L’Elisir d’Amore at the Bari Opera; La Bohème  and Anna Bolena  in Bilbao; Tosca, Madama Butterfly and Lucia in the Arena di Verona; Madama Butterfly in Leipzig; Rigoletto in Parma; Don Pasquale in Palermo; Iolanthe, La Bohème and Tosca at the Bolshoi Opera; Tosca at the Oslo Opera; La Rondine at the Los Angeles Opera; Pique Dame, La Bohème, and Lady Macbeth of Mtsensk at the Israeli Opera, Falstaff, and L’Heure Espagnole and Gianni Schicchi at the Juilliard Opera in New York; Turandot at the Washington National Opera; Simone Boccanegra and La Fanciulla del West at the Montreal Opera; Boris Godunov and Lucia in Warsaw; and Eugene Onegin and Manon Lescaut in Bucharest.

Ms. Wilson has conducted orchestras in Paris, Los Angeles, Munich, Montreal, Toronto, St. Paul, Houston, Washington, Aachen, Leipzig, Moscow, St. Petersburg, Madrid, Bucharest, Jerusalem, Hong Kong, Ljubljana, and Zagreb, amongst others.

Dorian Records has produced a CD of Ms Wilson conducting the Simón Bolivar Symphony Orchestra of Venezuela playing Danzón and Latin American compositions.

A native of Winnipeg, Canada, Ms. Wilson studied the flute, piano and violin. At the Juilliard School in New York, she was a student of renowned flutist Julius Baker and made her debut at Carnegie Hall at the age of 21. A recipient of the Bruno Walter Scholarship, she continued her studies at Juilliard in the conducting program with Otto-Werner Mueller. Ms. Wilson received her Bachelor and two Masters degrees in both conducting and flute performance from Juilliard in 1994. She made her debut with the National Arts Center Orchestra of Canada at the age of 23. While still a student, she assisted Claudio Abbado at the Salzburg Festival and won a fellowship from the Tanglewood Music Center. Upon graduation, she was the Associate Conductor at the Dallas Symphony Orchestra until 1998, when she launched her international career as a guest conductor.

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Reviews

"Keri-Lynn Wilson makes a majestic house debut: she unwraps Puccini's bejewelled orchestration in extended, expressive but never indulgent phrases, and the ENO Orchestra and Chorus respond to her like the world-class outfit they have become."

Mark Valencia, What's On Stage

"Dans la fosse, Keri-Lynn Wilson confirme l'excellente impression qu'elle avait laissée dans La fanciulla del West (2008) et Le Vaisseau fantôme (2012), en dirigeant l'Orchestre symphonique de Montréal avec un souci constant de la tension dramatique et de la splendeur orchestrale."

LOUIS BILODEAU, L'Avant-Scène Opéra

"La efectividad de este impacto se debió en gran parte a una excelente directora de orquesta, Keri-Lynn-Wilson. Su lectura fue a la vez sensible y tersa, sin esa melancolía mal entendida que a veces afecta algunas interpretaciones puccinianas, con rallentandi y arrastrándolo todo."

Agustín Blanco Bazán, Mundoclasico.com

"Canadian conductor Keri-Lynn Wilson drew out the subtleties of Puccini’s music as it weaves around the action and the characters. "

Mark Ronan, MarkRonan.com

"The Canadian conductor Keri-Lynn Wilson, making her UK operatic debut and unquestionably one of the stars of the evening, hurled herself and the excellent ENO orchestra into the music while the audience was still reaching for off buttons. It made an arresting start to a compelling evening."

Fiona Maddocks, The Guardian

"[...] the Canadian conductor Keri-Lynn Wilson (in her UK debut) [...] had the measure of Puccini’s finest score, built on a powerful lyrical thread rather than a sequence of arias, and she and the ENO Orchestra mined it for a wealth of detail that did justice to a very Italian take on the Wild West epic. She moulded the various elements of the first Act into a comprehensive whole, let the Act Two love-scene expand with Wagnerian fervour and guided the third Act, dominated by great singing from the men’s chorus, to a visionary conclusion"

Peter Reed, Classical Source

"Keri-Lynn Wilson conducts with great elasticity, maintains nigh on perfect synchronization with the stage, and is alive to every nuance of Puccini’s Wagner- and Debussy-influenced score."

Steve Silverman, Opera Britannia UK

"Canadian Keri-Lynn Wilson has conducted plenty of opera in Europe’s major houses – Munich, Zurich, the Mariinsky, Vienna and more – but this is the first time she has conducted an opera in the UK: clearly, we’ve been missing out. This was an exceptionally sure-footed orchestral performance: pacy, exciting and with a good sense of melodic arc. What impressed especially was Wilson’s control of dynamics: in the build up to a dramatic moment, you might have thought that you were hearing a relatively fully voiced orchestra, but when the critical moment arrived, there was masses of power in reserve which Wilson would unleash to blow you away."

David Karlin, Bachtrack

"Ottima la prova direttoriale di Keri-Lynn Wilson: mano sinistra sicura e inflessibile, mano sinistra eloquente, gesto contenuto e al tempo stesso intenso, segno di una disciplina e di una sensibilità che non di rado contrassegnano il mondo femminile. "

Lorenzo Mattei, GB Opera