Laura Wilde

Laura Wilde

Soprano
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“possessing particularly rich tone, a high musical style and an elegant stage bearing”

(Opera Mag Jun 2018)

This season, American soprano Laura Wilde makes a string of exciting debuts at Staatstheater Stuttgart as both Agathe (Der Freischütz) and Fiordiligi (Così fan tutte), and at Scottish Opera in the title role in Katya Kabanova, all of which are subsequent to her European debut in 2016 as Jenůfa at English National Opera, conducted by Mark Wigglesworth.

A recent graduate of the Ryan Opera Center at Lyric Opera of Chicago, her recent roles there include Freia (Das Rheingold) and Ortlinde (Die Walküre), and she debuts at Santa Fe Opera this summer as Jenůfa. Further highlights in the US include her debut as Vitellia (La clemenza di Tito) for Opera Theatre St Louis, and at Dallas Opera as Laura in Korngold’s Der Ring des Polykrates under Emmanuel Villaume. 

Laura was a Semi-Finalist at the 2010 Metropolitan Opera National Council Auditions, and is a 2016 recipient of the Sara Tucker Study Grant.

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Meet Laura Wilde © Richard Tucker Foundation

Gallery

Laura Wilde
Laura Wilde
Laura Wilde
Laura Wilde
Dvořák: Ciganske melodie No.5 © Laura Wilde
Dvořák: Ciganske melodie No.6 © Laura Wilde
Laura Wilde
Brahms: Ophelia Lieder © Laura Wilde
Laura Wilde
Dvořák: Ciganske melodie No.3 © Laura Wilde

“Laura Wilde was a big-voiced radiant Gretel”

(Neil Fisher, The Times, August 2018)

“The spinto soprano Laura Wilde was his wife Laura, possessing particularly rich tone, a high musical style and an elegant stage bearing.”

(Opera Magazine, June 2018)

“Laura Wilde’s soprano blooms beautifully in the upper range”

(Dallas News, February 2018)

“He also has a beautiful young wife, Laura, played with both tenderness and steel by the Wagnerian soprano Laura Wilde.”

(Theater Jones, February 2018)

“Laura Wilde’s Vitellia had a hot core of tone and admirable vocal agility and nuance”

(Opera Magazine, August 2017)

“The director has been gifted with a cast that is nigh unto perfection. As Vitellia, Laura Wilde seems well on her way to becoming the Mozart soprano of choice. Her creamy, evenly produced tone had outstanding presence in every register and she coloured it beautifully to reflect her changing moods…Ms Wilde is also highly adept at executing the florid writing and ornamentations…Her dramatic gifts equal her splendid instrument, most especially her deft, subtle comic timing.”

(Opera Today, June 2017)

“Laura Wilde sings a strong, splendid Vitellia. She makes this woman enticing and flirtatious as well as vengeful.”

(Broadway World, June 2017)

“The rest of Wotan’s clan included the fresh-voiced soprano (and Ryan Opera Center alumna) Laura Wilde as Freia”

(Chicago Tribune, October 2016)

“After applauding Laura Wilde’s outstanding portrayal of Jenůfa, I consulted the programme to find that she is in her final year as a participant in the young artists’ programme at the Lyric Opera of Chicago and that this was her ENO and European debut. She gave a commanding performance vocally, producing a pure soprano sound with which she was able to ride over the hefty orchestra and yet also to shape some delicate piano and pianissimo phrases. Dramatically she was always the uncomfortable stepdaughter – vulnerable, wilful, uncomprehending, disappointed.”

(Opera Magazine, September 2016)

“Wilde, making her European debut, is quite a find, a warm-voiced soprano with real lustre in her tone, and a deeply affecting, if finely understated, actress: Jenůfa’s numbed grief for her dead baby tears you in two, as it should.”

(The Guardian, Tim Ashley, June 2016)

“…with wonderful colours in her voice she is deeply affecting as the village girl whose baby is murdered by her stepmother…”

(The Telegraph, John Allison, June 2016)

“Throughout, her delivery and body language are truthful, her upper register flawlessly radiant.”

(The Arts Desk, June 2016)

“Laura Wilde’s empowered lyricism helps lift Jenůfa out of the painful trials that beset her into wisdom and maturity.”

(The Stage, George Hall, June 2016)

“Among the first selections of the evening the aria ​“Ain’t it a pretty night” from Carlisle Floyd’s Susannah was sung by Laura Wilde. Ms. Wilde’s interpretation showed excellent technique at appropriate emphatic moments…Her character’s wistful yearning ​“to be one of them folks myself” who are beyond the mountains, was equally touching”

(Salvatore Calomino, Opera Today, May 2015)
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