Jennifer Wilson

Soprano

 

Biography

In 2002 American soprano Jennifer Wilson made her operatic stage debut as Turandot with the Connecticut Opera, and since that time has firmly established herself as one of the world’s leading dramatic sopranos.

Following on the heels of her Connecticut success, Jennifer Wilson debuted with the Lyric Opera of Chicago as Helmwige in Die Walküre and made her first appearance in Europe as the leading soprano in Schulhoff’s Die Flammen at Amsterdam’s Concertgebouw in 2005. In 2003/04, Jennifer made a short-notice debut at Houston’s Grand Opera, again as Turandot, prompting The Houston Chronicle to declare her “A star in the making”. Bob Wilson’s production of Die Walküre at Paris’ Théâtre du Châtelet marked her European operatic debut in 2005/06, conducted by Christoph Eschenbach.

In addition to further successful productions of Turandot for the Santa Fe Opera, Opera Australia and the Thessaloniki Concert Hall in Greece, Jennifer Wilson enjoyed a huge success with her first Brünnhilde in Die Götterdämmerung at the Lyric Opera of Chicago, also performing Helmwige and Gutrune in their 2005 Ring Cycles. A debut as Senta at the artist’s home house – Washington National Opera – was acclaimed by the critics with: “Jennifer Wilson registers sit-up-and-take-notice star power in her role debut as Senta.” (The Baltimore Sun).

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Reviews

“Surely she is today the brightest soprano, with high notes that are like whiplashes, full of power and pitched exactly right…To my mind, she could be the Brunnhilde of our times”

Seen and Heard International

“She had power and secure top notes. Her phrasing was uncommonly intelligent. Legato singing was supple yet firm. Through her voice she could tell the audience volumes about a single word.”

Houston Chronicles

More Reviews

“The amazing American soprano Jennifer Wilson performed Isolde by a rare level . Every moment on stage she remained true to her beautiful , warm voice well above the orchestra. She sounded shrill nowhere or tired and knew all the emotions that communicate by Isolde makes her delicately through her voice. This is definitely a Wagnerian singer to keep a close eye on”

Tristan und Isolde – The Opera Magazine.nl – Laura Roling 

“The amazing American soprano Jennifer Wilson performed Isolde by a rare level . Every moment on stage she remained true to her beautiful , warm voice well above the orchestra. She sounded shrill nowhere or tired and knew all the emotions that communicate by Isolde makes her delicately through her voice. This is definitely a Wagnerian singer to keep a close eye on”

Tristan und Isolde – The Opera Magazine.nl – Laura Roling 

“Above all, there was Jennifer Wilson’s thrilling Isolde. Her steady technique enabled her timbre to stay bright and untarnished until the final scene. The warmth in her lower and middle voice and the youthful freshness at the top make her instrument ideal for this role. The Narration and Curse in Act I could perhaps have used more venom, but Ms Wilson is not a singer for those expecting shouty invectives and love-crazed ululations. She does good old acting-with-the-voice, expressing temperament through tonal beauty, and her Isolde borders on the miraculous. ”

Tristan und Isolde, The Concertgebouw, Amsterdam – The Bachtrack – Jenny Camilleri 

“Above all, there was Jennifer Wilson’s thrilling Isolde. Her steady technique enabled her timbre to stay bright and untarnished until the final scene. The warmth in her lower and middle voice and the youthful freshness at the top make her instrument ideal for this role. The Narration and Curse in Act I could perhaps have used more venom, but Ms Wilson is not a singer for those expecting shouty invectives and love-crazed ululations. She does good old acting-with-the-voice, expressing temperament through tonal beauty, and her Isolde borders on the miraculous. ”

Tristan und Isolde, The Concertgebouw, Amsterdam – The Bachtrack – Jenny Camilleri 

“Accanto a lui Jennifer Wilson è un’Isolde completa, molto ben cantata e ben rifinita dal punto di vista interpretativo che sa essere imperiosa quando necessario ma che non abdica mai alla femminilità di una fanciulla prima tradita nella fiducia e persa poi in un amore più grande del mondo. Tutti i momenti topici della parte sono ben realizzati: affronta con disinvoltura gli scogli tremendi degli acuti del duetto con Tristano e conclude con un commovente a liricissimo Mild und leise. ”

Tristan und Isolde – Opera click – Edoardo Saccenti 

“Accanto a lui Jennifer Wilson è un’Isolde completa, molto ben cantata e ben rifinita dal punto di vista interpretativo che sa essere imperiosa quando necessario ma che non abdica mai alla femminilità di una fanciulla prima tradita nella fiducia e persa poi in un amore più grande del mondo. Tutti i momenti topici della parte sono ben realizzati: affronta con disinvoltura gli scogli tremendi degli acuti del duetto con Tristano e conclude con un commovente a liricissimo Mild und leise. ”

Tristan und Isolde – Opera click – Edoardo Saccenti 

“Jennifer Wilson made Senta seem Brünnhilde’s sister, whooping out the Dutchman’s horn call as if airborne for Valhalla. Her enthusiastic, wide-mouthed top notes were irresistible; her slivers of humour too. ”

Geoff Brown, The Times 

“Above all, there was Jennifer Wilson’s thrilling Isolde. Her steady technique enabled her timbre to stay bright and untarnished until the final scene. The warmth in her lower and middle voice and the youthful freshness at the top make her instrument ideal for this role. The Narration and Curse in Act I could perhaps have used more venom, but Ms Wilson is not a singer for those expecting shouty invectives and love-crazed ululations. She does good old acting-with-the-voice, expressing temperament through tonal beauty, and her Isolde borders on the miraculous. ”

Tristan und Isolde, The Concertgebouw, Amsterdam – The Bachtrack – Jenny Camilleri 

“Wilson stamps her authority on the title role, which demands a soprano who can sing with power and human warmth.”

Herald Sun 

“… here we have a new star on the Nibelungen’s heaven. What a voice, what a command of it this lady has! Even on the ringing and securely placed top-notes she easily keeps her full power, and sometimes even adds another pinch. Her lustrous and warm soprano seems to have countless colours; a rich and creamy sound that does not lack power, especially in the heights. Despite all her power she never forced her voice. She sings with great sensitivity and tenderness. Wagner would have loved her.”

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