Carole Wilson is regarded as one of the most accomplished British mezzo-sopranos of her generation, with a wide repertoire, ranging from Mozart and Rossini to Sondheim and Gerald Barry.
Carole’s engagements in the 2021/22 season include her returns to the Opéra national de Paris as Susanna Khovanshchina; Alte Burya Jenufa in a new production for the Grand Théâtre de Genève; La Nourrice Ariane et barbe-bleu for the Opéra national de Lorraine and Annina Der Rosenkavalier for the Staatsoper Stuttgart. In future seasons, Carole will return to the Royal Opera House, Covent Garden, Teatro Real, Madrid, the Glyndebourne Festival, La Monnaie Brussels, Staatsoper Stuttgart, Teatro San Carlo, Napoli and she will appear with the London Symphony Orchestra; she also makes debuts for the Opéra national du Rhin and at the Staatsoper Hamburg.
Last season, Carole made her role debut as Mrs Grose in Andrea Breth’s new production of The Turn of the Screw for La Monnaie, Brussels.
Engagements cancelled due to the Covid19 Pandemic include: The Old Countess Pique Dame and Annina Der Rosenkavalier for La Monnaie; Bobylicka Snegurotchka and The Governess Pique Dame in a new production by Dmitri Tcherniakov for the Opéra national de Paris conducted by Daniel Barenboim.
Most recently, Carole has appeared as The White Queen in Gerald Barry's Alice Underground and Dame Marthe Faust for the Royal Opera House, Covent Garden; Fata Morgana Love for the Three Oranges for the Staatsoper Stuttgart; Aksinya Lady Macbeth of Mtsensk at the Bayerische Staatsoper; Hexe Hänsel und Gretel for the Opera National de Lorraine; Auntie Peter Grimes for Opéra de Monte Carlo and Deutsche Oper am Rhein; Annina Der Rosenkavalier at the Festspiele Baden Baden conducted by Sir Simon Rattle; Bobylicka Snegurotchka for the Opéra national de Paris and the Babarhika in a new production of The Tale of Tsar Saltan for La Monnaie, Brussels.
Carole performed as a Mezzo Soprano soloist at the Wiener Statsoper (2014-2016) she made her debut as Mary Der fliegende Holländer conducted by Yannick Nézet-Séguin; other roles included Herodias Salome; Jezibaba Rusalka; Gertrude Roméo et Juliette; Annina Der Rosenkavalier; Berta Il barbiere di Siviglia and Adelaïde Arabella.
Carole made her debut at the Royal Opera House, Covent Garden in 2002, and has returned many times, notably as Aksinya in Lady Macbeth of Mtsensk - a role which marked Carole’s debuts for the Opéra national de Paris; La Scala, Milan; Teatro Real, Madrid; Dutch National Opera; Teatro Sao Carlo, Napoli and the Bayerische Staatsoper. Carole appears regularly at Opéra Royal de La Monnaie, Brussels where her recent engagements included Mrs Lovett Sweeney Todd; Ježibaba Rusalka, Gertrude Roméo et Juliette, Stařenka Buryjovka Jenůfa and Annina La Traviata.
Other recent engagements include appearances at the Royal Opera House, Covent Garden; Opéra de Monte Carlo; Theater an der Wien; Grand Théâtre de Genève; Teatro Real, Madrid; Vlaamse Oper; Oper Klosterneuburg; Dutch National Opera; Ópera de Oviedo and Deutsche Oper am Rhein, Düsseldorf.
On the operatic and concert stages Carole has appeared under the baton of the worlds leading conductors, including: Sir Simon Rattle, Sir Antonio Pappano, Sir Andrew Davis, Nikolas Harnancourt, Bernard Haitink, Semyon Bychkov, Kirill Petrenko, Adam Fischer and the late Sir Charles Mackerras.
On the concert platform, Carole has appeared with many of the world’s finest orchestras: the Berliner Philharmoniker; Wiener Philharmoniker, London Symphony, Rotterdam Philharmonic, Hong Kong Philharmonic and the Royal Concertgebouw Orchestra.
Biography not for publication, for an up to date version please contact Oliver Clarke.
"A mezzo with some majesty in her voice, Carole Wilson, will survive in memory.”
"Carole Wilson, a knowing Mistress Quickly, whose rich, rounded voice conveyed the pragmatist's years of wisdom and experience.”
"Carole Wilson is comprehensively excellent in the dual roles of the Countess and Madelon.”
"Carole Wilson's Ulrica was a broadly-drawn, uncomplicated portrayal, with an impressive and baleful chest register.”
“Making her Vienna debut in the role of Herodias, English mezzo-soprano Carole Wilson scored a singular triumph. Here was a singer/actress of Regina Resnik calibre who was as fascinating to watch as she was to hear. Imperious, nagging, disdainful and domineering, it was clear she made Herodes’ life sheer hell. She looked rather like Terence Stamp as Bernadette in Priscilla, Queen of the Desert, but this just made the performance even more memorable. Her exasperated fortissimo top A natural on “Er soll schweigen!” was Nilsson-esque.”
Jonathan Sutherland, Backtrack
“This was Miss Wilson’s first Herodias, and an occasion to be remembered! Throughout this characterisation was filled with rare detail, intensity and focus - riding on a bright and searing mezzo ideal for the task in hand.”
Moore Parker, The Opera Critic
“Womit diese Aufführung durchaus zu den Höhepunkten der reichen Wiener Strauss- Interpretationsgeschichte gezählt werden darf. Zumal auch eine Debütantin gute Figur macht: Carole Wilson stellt sich als Herodias vor, machtvoll degradiert sie Herwig Pecoraros König Herodes zum stichwortbringenden „Sohn eines Kameltreibers.”
Von Wilhelm Sinkovicz, Die Presse
"Carole Wilson gives a star performance as Preziosilla."
"A fine cast that included such wonderful, foot sure performers as Carole Wilson (simply one of the best Aunties around).”
"Wilson launched herself upon the music with that ability to muster from nowhere an attack at full strength that Russian music of this period can demand.”
"Wilson superbly conveys the psychological terrors that lurk behind the Countess' steely public person.”