Erin Wall
Soprano

“Erin Wall is the Thaïs of one’s dreams, wielding a soprano of radiance, pristine beauty and tingling top notes...Singing without a score, she made us believe every word.” (Financial Times)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

With an extensive repertoire spanning three centuries, Canadian soprano Erin Wall works with many of the world's leading conductors on opera and concert stages alike and is in great demand around the globe thanks to an innate sense of musicality and a unique vocal versatility.

This season Erin makes her role debut as Desdemona (Otello) for Vancouver Opera under Jonathan Darlington and returns to the roles of Donna Anna for San Francisco Opera conducted by Marc Minkowski and Anna Sørensen (Kevin Puts’ Silent Night) for Michigan Opera Theatre.

With an extensive repertoire spanning three centuries, Canadian soprano Erin Wall works with many of the world's leading conductors on opera and concert stages alike and is in great demand around the globe thanks to an innate sense of musicality and a unique vocal versatility.

This season Erin makes her role debut as Desdemona (Otello) for Vancouver Opera under Jonathan Darlington and returns to the roles of Donna Anna for San Francisco Opera conducted by Marc Minkowski and Anna Sørensen (Kevin Puts’ Silent Night) for Michigan Opera Theatre. On the concert platform, she makes her first appearance as Ellen Orford (Peter Grimes) under Ed Gardner at the Edinburgh International Festival, returns to the Melbourne Symphony Orchestra with Sir Andrew Davis as Thaïs and joins Deutsches Symphonie-Orchester Berlin as Vanessa under David Zinman. Elsewhere Erin joins the NHK Symphony Orchestra in Mahler’s Symphony No.8 under Paavo Järvi, the BBC Scottish Symphony Orchestra in Strauss’ Vier letzte Lieder conducted by Thomas Dausgaard and both the Royal Flemish Philharmonic for Mahler’s Symphony No.2 and San Diego Symphony for Beethoven’s Symphony No.9, under Edo de Waart.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

“Erin Wall gave a splendid, gleamingly sung performance as Vanessa that conveyed both the woman’s pensiveness and the transformation of her spirits after winning Anatol’s affections.” (Opera Magazine, November 2016)

“Erin Wall’s explosive soprano embodied Vanessa’s delusions” (Wall Street Journal, August 2016)

”Equally attractive, Erin Wall gave the Santa Fe audience a thoughtful, provocative portrayal of the role. Wall has a wide range of vocal color and she used it to add emotional impact to her music. Her aria “Do not utter a word, Anatol” secured her position as the diva of the evening.” (Bachtrack, August 2016)

“Erin Wall gave a splendid, gleamingly sung performance as Vanessa that conveyed both the woman’s pensiveness and the transformation of her spirits after winning Anatol’s affections.” (Opera Magazine, November 2016)

“Erin Wall’s explosive soprano embodied Vanessa’s delusions” (Wall Street Journal, August 2016)

”Equally attractive, Erin Wall gave the Santa Fe audience a thoughtful, provocative portrayal of the role. Wall has a wide range of vocal color and she used it to add emotional impact to her music. Her aria “Do not utter a word, Anatol” secured her position as the diva of the evening.” (Bachtrack, August 2016)

“Soprano Erin Wall had shattering power in the title role, her voice revealing all of Vanessa’s pent-up frustration, but with a striking high pianissimo also in her arsenal.” (Washington Post, July 2016)

“As the Countess, Erin Wall offered silvery tone with plenty of chiaroscuro.” (Opera Magazine, June 2016)

“Amid that storm, soprano soloist Erin Wall could be heard delivering a series of lightning-bolt high C’s, the culmination of a powerful presence throughout the movement.” (Boston Classical Review, September 2015)

“…the finely balanced solo quartet, led by Hanno Müller-Brachmann’s authoritative bass and Erin Wall’s laser-like soprano, were outstanding.” (Tim Ashley, The Guardian, June 2015)

“The centrepiece is a beautifully modulated, sensitively and sensuously soaring interpretation of the Four Last Songs by Erin Wall.” (Geoffrey Norris, Gramophone, November 2014)

“Soprano Erin Wall, in her company debut, displayed a resplendent soprano and convincing acting as Donna Anna…Wall’s voice has both size and subtlety” (Seattle Times, October 2014)

“Erin Wall sang Jenifer’s role with beauty and ease.” (Richard Fairman, Financial Times, August 2013)

“The ravishing solo 'The Sun Goeth Down' fell to the Canadian soprano Erin Wall, who seized her opportunity with a rapturously floated line.” (Evening Standard, July 2014)

“Duetting with violinist Stephen Bryant, soprano Erin Wall sounded radiant in The Sun Goeth Down” (Erica Jeal, Guardian, July 2014)

“Erin Wall also brings amazing reserves of emotional depth to the Countess who finds love and death live side by side. And the richness of her vocal instrument, capable of suddenly slashing into searing pain, completes the picture.” (Toronto Star, March 2012)

“Erin Wall is the Thaïs of one’s dreams, wielding a soprano of radiance, pristine beauty and tingling top notes, which she hit with a conviction that only comes with stage experience and a solid technique. Singing without a score, she made us believe every word.”  (Financial Times, August 2011)

“Revivals are rare, largely because of the immense difficulties, vocal and dramatic, of the title role. They were more than met, however, in this concert performance by Canadian soprano Erin Wall. Her glamour is magnetic: you understand why, at the start, men are prepared to bankrupt themselves for Thaïs. More important, however, is the extraordinary ease and sumptuousness of her tone, and a hovering, ecstatic quality in her singing that makes her so convincing as both sexual icon and saint...Ultimately, though, this was Wall's night. I hesitate to write "a star is born" after a single hearing, but she will unquestionably become one if she carries on like this.” (The Guardian, August 2011)

“Canadian soprano Erin Wall was a revelation as Thaïs, fully inhabiting the role and combining astonishing technical control with beautifully creamy, focused tone.” (The Telegraph, August 2011)