Keri-Lynn Wilson

Conductor

Biography

Maestro Keri-Lynn Wilson’s international career as a guest conductor spans over twenty years, leading some of the world’s most prestigious orchestras – such as the Los Angeles Philharmonic and the Symphonieorchester des Bayerischen Rundfunks – and operas at the world’s top opera houses, including the Royal Opera House Covent Garden, the Bayerische Staatsoper, the Bolshoi Theatre, and the Wiener Staatsoper. Ms. Wilson’s work has been praised as “vividly shaped and nuanced” by The New York Times, and “elegantly incisive” by The Telegraph.  In 2020, she was nominated for an Opus Klassik Award as “Conductor of the Year.”

Ms. Wilson’s 2020/21 season includes symphonic and operatic engagements, beginning this fall with a return to Iceland for a performance with the Iceland Symphony Orchestra. Later in the fall, Ms. Wilson will make her debut with the Opéra national de Paris, conducting Carmen, and her Berlin debut conducting a gala concert at the Deutsche Oper. In January, she will make her Salzburg debut, conducting the opening concert of the Mozartwoche. Later in the winter, Ms. Wilson will return to the Bayerische Staatsoper in Munich, a company she frequently conducts, for performances of Rigoletto in February. In the spring, Ms. Wilson will make her Dallas Opera debut, conducting  Tosca, as well as returning to the Bolshoi Theatre, another company she frequently conducts, with performances of La Traviata and Un Ballo in Maschera.

Recent operatic career highlights include Carmen at the Royal Opera House Covent Garden; Tosca, Madama Butterfly, and La Traviata at the Wiener Staatsoper, La Traviata, Madama Butterfly and Il Barbiere di Siviglia at the Bayerische Staatsoper, Lady Macbeth of Mtsensk and La Traviata at the Opernhaus Zürich, Don Carlo, Iolanta, Manon Lescaut, Tosca, and La Bohème at the Bolshoi Theatre, La Fanciulla del West and Aïda at the English National Opera, Rusalka at the Czech National Opera, Rigoletto at the Norwegian National Opera, Der fliegende Holländer, Eugene Onegin, Boris Godunov, and Carmen at the Polish National Opera, and Faust at the Washington National Opera. She was the first female conductor to lead an opera at: the Arena di Verona, where she conducted Tosca and Madama Butterfly; the New National Theatre (NNT) Tokyo, where she led Madama Butterfly; and the Opera di Roma, where she conducted Aïda.

On the concert stage, Maestro Wilson has led the San Francisco Symphony, the Los Angeles Philharmonic, the Wiener Kammerorchester, the Symphonieorchester des Bayerischen Rundfunks, the Russian National Orchestra, the Prague Philharmonic, the RAI Symphony Orchestra, the Ravinia Festival Orchestra, the Seattle Symphony the Orchestre national d’Ile de France, NDR Radiophilharmonie, Toronto Symphony, and l’Orchestre Symphonique de Montreal among others. While her symphonic repertoire is varied, she specializes in Shostakovich, Tchaikovsky, Mahler, Brahms and Beethoven.

Ms. Wilson was raised in Winnipeg, Canada, where she studied flute, piano, and violin from an early age. While still a student at Juilliard, she assisted Claudio Abbado at the Salzburg Festival, and won a fellowship from the Tanglewood Music Center. Upon graduating from Juilliard with a masters both in flute and conducting, she was named the Associate Conductor at the Dallas Symphony Orchestra.

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

More 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

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