Laura Wilde

Soprano

Biography

A 2019 Richard Tucker Foundation career grant recipient, American soprano Laura Wilde has been praised by Opera News as having, “a ravishingly beautiful sound, [and] a fine sense of style and character.” In the 2019/20 season, Ms. Wilde will return to the Lyric Opera of Chicago as Sieglinde in Die Walküre, as well as Freia, Ortlinde and the Third Norn for the full Ring Cycle with Sir Andrew Davis. She will also appear at Staatstheater Stuttgart as Agathe in Der Freischütz and in her role debut as Marguerite in Faust, Arizona Opera as Mamah Cheney in the world premiere of Daron Hagen’s Shining Brow, a snapshot of Frank Lloyd Wright’s life in the early 20th century, and at the Berkshire Opera Festival in her role debut as Donna Anna in Don Giovanni. In concert, she will make her Australian debut as Gretel in Hänsel und Gretel with Sir Andrew Davis and the Melbourne Symphony, and give a solo recital with Craig Terry at the Marcus Center in Milwaukee.

Highlights of recent seasons include the title role in Janáček’s Jenůfa with the Santa Fe Opera and English National Opera, Fiordiligi in Così fan tutte and Agathe at Staatstheater Stuttgart, the title role of Káťa Kabanová with Scottish Opera, Freia, Ortlinde and the cover of Sieglinde in Das Rheingold and Die Walküre, respectively, part of David Pountney’s new Ring Cycle conducted by Sir Andrew Davis at Lyric Opera of Chicago, Gretel with Sir Andrew Davis at the Edinburgh Festival, The Dallas Opera as Laura in Korngold’s rarely performed one-act opera Der Ring des Polykrates, Micaëla in Carmen with Nashville Opera, Opera Theatre of Saint Louis as Vitellia in La Clemenza di Tito, Jane Withersteen in the world premiere of Craig Bohmler’s Riders of the Purple Sage at Arizona Opera as well as Freia, and the Foreign Princess in Rusalka with Des Moines Metro Opera.

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Reviews

“Young Laura Wilde makes a heartrending transition from a spirited, pretty girl in Marian blue to drugged, pale and facially disfigured young mother and on, in Act Three, to a wise woman who’s learnt too much too soon about the disappointments and horrors of life. Throughout, her delivery and body language are truthful, her upper register flawlessly radiant.”

David Nice

The Arts Desk

“Of the first-year apprentices, I was most taken with Laura Wilde, an Indiana University alumna who has sung supporting roles in Santa Fe, N.M., and St. Louis. She brought unforced charm and a peaches-and-creamy lyric soprano to the Jewel Song from Gounod’s “Faust.” The sound opened out to a full, steady top, and she has fine stage presence too. Wilde is definitely one to watch.”

John von Rhein

Chicago Tribune

More Reviews

“Making her European debut, Laura Wilde is a touchingly clear-voiced forlorn Jenůfa”

Cara Chanteau, The Independent

“The cast is never less than superb. Laura Wilde excelled as Jenůfa, capturing all the wistful beauty of the young, naïve country girl in the first act in a way that was deeply poignant. Her tone is bright and warm, lit by an upper register that is clear and glorious; her second act prayer succeeded in being both incredibly beautiful and intensely sad. She sang with nuance, and transitioned credibly from youthful optimism into the more knowing woman in the second act who is physically scarred and loses both her lover and her child. The change was heartrending to watch, as it ought to be.”

– John E.de Wald, Opera Brittania

“In the title role [of Jenufa], American soprano Laura Wilde was a revelation. Making her European debut, Wilde sang with a radiant, richly textured soprano and displayed considerable acting skills. “

Claire Seymour, Opera Today

“I also thoroughly enjoyed soprano Laura Wilde singing “Jewel Song: O Dieu! Que de bijoux!” from Faust. Wilde’s light, airy soprano voice was perfect for Marguerite, who girlishly adorns herself in jewelry left to her by her admirer, Faust.”

Jennifer Lunz, Splash Magazine

“…Ms. Wilde sang Marguerite’s aria, “Oh Dieu! Que de bijoux!,” [“O God! What jewels!”] from Gounod’s Faust; Wilde was careful in observing textual import, so that her decorations on the “princesse,” whom she fantasized at becoming, were especially well chosen. Her final notes showed an emotional outburst that spoke more of the character’s naïveté than of her entrancement with the jewels produced by Mephistopheles.”

Salvatore Calomino, Opera Today

“Above all, Laura Wilde, making her London debut as Jenufa, was stunning. A young, emerging American singer, this was a perfect showcase for her beautiful, flexible voice and also her strong acting abilities. She drew us into Jenufa’s world; convinced us of her obsessive love for Steva and her forgiveness of the Kostelnicka; and finally she and Peter Hoare convincingly portrayed the redemptive and musically powerful ending.”

Mel Cooper, Plays to See

“The cast is never less than superb. Laura Wilde excelled as Jenůfa, capturing all the wistful beauty of the young, naïve country girl in the first act in a way that was deeply poignant. Her tone is bright and warm, lit by an upper register that is clear and glorious; her second act prayer succeeded in being both incredibly beautiful and intensely sad. She sang with nuance, and transitioned credibly from youthful optimism into the more knowing woman in the second act who is physically scarred and loses both her lover and her child. The change was heartrending to watch, as it ought to be.”

John E.de Wald, Opera Brittania