Keri-Lynn Wilson

Conductor

Biography

Keri-Lynn Wilson is a guest conductor of leading international opera companies and orchestras. Following her successful debut at Covent Garden’s Royal Opera House last season, conducting Carmen, Ms. Wilson was re-engaged to conduct La Boheme. In 2020, she will also be making her Paris Opera debut with Carmen.

Currently, Ms. Wilson is conducting a new production of Rigoletto for the Norwegian National Opera in Oslo that opens their season; in the 2019/20 season, she also returns to the Bolshoi to conduct Manon Lescaut; as well as returning to Juilliard to conduct a new production of La Boheme and their annual commencement concert; she will make her debut at the Teatro Colon with performances of Tosca, amongst other engagements.

Ms. Wilson’s performance last season with the Bayerischer Rundfunk Orchestra of Rossini’s rarely performed opera, Sigismondo, has been released as a CD on the BR Klassik label.

Recently, Ms. Wilson conducted La Traviata, Madama Butterfly and Il Barbiere di Siviglia at the Munich Opera; conducted Faust at the Washington Opera; made her debut with the Australian National Opera, conducting Cosi fan tutte; made her debut at the Canadian Opera Company with Tosca, conducted Don Carlo at the Bolshoi Opera, Romeo and Juliette with the Bayerischer Rundfunk Orchestra, Rusalka at the Czech National Opera, Otello at the Montreal Opera, Don Giovanni in Bilbao, L’Elisir D’Amore in Valencia, The Flying Dutchman in Warsaw, a double bill of Poulenc’s Les Mamelles de Tirésias and Viktor Ullmann’s Der Kaiser von Atlantis at Juilliard Opera, Hänsel und Gretel at the Mariinsky Theater, and La Fille du Regiment in Palermo and at the Royal Opera House in Oman. She conducted the Toronto Symphony, the Montreal Symphony, the Orchestre Metropolitain de Montreal, the Dusseldorf Symphony, and the orchestras of Iceland and Prague. She also acted as Music Director of the National Slovenian Philharmonic; conducted new productions of Aida and La Fanciulla del West at the English National Opera; conducted Verdi’s Attila and Il Trovatore in La Coruna; and televised performances of Cavalleria Rusticana, Pagliacci, La Traviata, Rigoletto and La Bohème with the NDR Orchestra.

Other recent highlights include Un Ballo in Maschera and Pique Dame in Stockholm with the Royal Swedish Opera, Madama Butterfly in Tokyo at the New National Theater; Lady Macbeth of Mtsensk and La Traviata at the Zurich Opera; Flying Dutchman at the Montreal Opera; Nabucco in La Coruna; La Traviata in Bilbao; Eugene Onegin in Warsaw; Turandot at the Schleswig-Holstein Music Festival with the NDR Orchestra; Otello in Bari; and Boris Godunov in Tel Aviv.

Ms. Wilson has conducted frequently at the Vienna State Opera, Mariinsky Theater, Munich Opera, Bolshoi Opera, Palermo Opera, Juilliard Opera, Israel Opera, Warsaw Opera, Bilbao Opera and Montreal Opera. She has also conducted opera in Rome, Torino, Bari, Florence, Parma, Verona, Palermo, Oslo, Nice, Bucharest, Los Angeles, Leipzig, and Washington. 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, and Zagreb, among others.

Dorian Records has produced a CD, Danzon, of Ms Wilson conducting the Simón Bolivar Orchestra of Venezuela in a recording of 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.

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