Wilson makes her Lyric Opera of Chicago debut as Leonora in Il trovatore, returns to the Canadian Opera Company as Verdi’s Desdemona in Otello, and returns to the Zurich Opera to sing Chrysothemis in Elektra. In the 2018-2019 season, Tamara Wilson will return to the Metropolitan Opera to sing the title role in Aida conducted by Nicola Luisotti and makes her mainstage debut at Teatro alla Scala in a new production as the Prima Donna/Ariadne inAriadne auf Naxos conducted by Franz Welser-Möst, a role she will first sing with him conducting the Cleveland Orchestra as well. She is the 2016 recipient of the prestigious Richard Tucker Award from the Richard Tucker Music Foundation and Olivier Award nominee. © Melvyn Schreiber – Galveston Daily News: “The sets were intelligently conceived, highlighted by huge crosses tilted at an angle to suggest the lack of uprightness in the church, and the stage was filled with religious robes and symbols of the authority of the church.With a voice that is a “veritable force of nature” (Chicago Tribune), American soprano Tamara Wilson is quickly gaining international recognition for her interpretations of Verdi, Mozart, Strauss and Wagner.

(…) The effect was vivid: the Spanish monarchy of Verdi’s opera emerged here as a totalitarian regime supported by a complicit Catholic Church whose rituals, sometimes brutal, punctuated public life.” As a complement to the oppressive presence of the church, costume designer Carl Friedrich Oberle created costumes that evoked a generic, modern-day police state with abundant military uniforms in view, except for those officials clad in trench coats in the manner of secret police. © Gregory Barnett – Opera News: “In set designer Johan Engels’ conception, the stage was dominated by crosses: giant crosses formed the forest of Act I and later stood in as abstract architectural pieces for indoor scenes monks marched while holding large, heavy-looking black (and later red) crosses the same red crosses surrounded Philippe in his palace study and a glaring cross of brilliant red light formed the backdrop to the Act III auto-da-fé.

Houston grand opera don carlos