This season, bass Harold Wilson returns to the Metropolitan Opera, singing Bertrand in Iolanta and covering Fasolt in Das Rheingold. He also appears with Opera Southwest as King Heinrich in Lohengrin.
His 2017-2018 season included a company debut with Arizona Opera as Fasolt in Das Rheingold and a return to Dayton Opera as Timur In Turandot and Don Basilio in Il barbiere di Siviglia. The previous season included a return to Opera Colorado, singing Ashby in La fanciulla del West, his role debut of Mustafa in L’italiana in Algieri with Sarasota Opera, Oroe in Semiramide with Baltimore Concert Opera and Opera Delaware, and his company debut with the Caramoor Festival singing Ernesto in Il Pirata.
The 2015-2016 season included returns to several companies for the bass: covering Timur in Turandot with the Metropolitan Opera, Ramfis in Aida with Opera Colorado, and the roles of Rocco and Marcovaldo in productions of Fidelio and La battaglia di Legnano, respectively, with Sarasota Opera. Additionally, he debuted the role of Polonio in Opera Delaware’s anticipated production of Amleto. In concert, he made a company debut with the Grand Junction Symphony as the bass soloist in Verdi’s Requiem, and as the bass soloist in Mozart’s Requiem with MCP at Carnegie Hall.
Mr. Wilson’s 2014-2015 season began with the Dayton Opera singing works by Mussorgsky and Tchaikovsky in a Gala Concert. Subsequently, the American bass debuted with Opera Memphis, as the Commendatore in Don Giovanni, joined the Metropolitan Opera for its production of Die Meistersinger von Nürnberg, and made appearances with Tulsa Opera, for Frère Laurent in Roméo et Juliette, and Opera Colorado, for Sarastro in Die Zauberflöte.
Mr. Wilson’s 2013-2014 calendar featured debuts with Hawaii Opera, as Timur in Turandot, Sarasota Opera as Daland in Der Fliegende Holländer, and Dayton Opera for Ramphis in Aida, as well as a return to the Metropolitan Opera to cover the Police Commissioner in Der Rosenkavalier.
Mr. Wilson’s 2012-2013 season included his debut with Portland Opera as the Commendatore in Don Giovanni; The French General in Kevin Puts’ Pulitzer Prize winning opera Silent Night with Opera Philadelphia; and returns to the Metropolitan Opera, to cover Panthus in Les Troyens, Opera Birmingham, for Sarastro in Die Zauberflöte, and Tulsa Opera for Ramphis in Aida. During the summer of 2013, he sang Emile de Becque in South Pacific with New Hampshire’s Opera North.
Mr. Wilson began the 2011-2012 season as Prince Gremin (Eugene Onegin) with Madison Opera, returned to the Metropolitan Opera to cover Angelotti in Tosca and sang Beethoven’s 9th Symphony with the Greensboro Symphony, as well as Verdi’s Requiem at Carnegie Hall.
Mr. Wilson spent much of the 2010-11 season with The Metropolitan Opera, participating in productions of Tosca, Armida, Roméo et Juliette, Boris Godunov and Don Carlos. Additionally, he sang with Tulsa Opera (Oroveso in Norma), Palm Beach Opera (High Priest of Baal in Nabucco), Chautauqua Opera (Sarastro in Die Zauberflöte) and made his debut with the Opera Orchestra of New York (High Priest of Brahma in L’Africaine). The 2009-2010 season saw his debuts with Tulsa Opera (Raimondo in Lucia di Lammermoor), Madison Opera (Zuniga in Carmen), and Birmingham Opera (Ramphis in Aida), as well as returns to Lyric Opera of Kansas City (Monterone inRigoletto) and Santa Fe Opera (Luther and Crespel in Les contes d’Hoffmann and the Bonze in Madama Butterfly).
As a member of the Deutsche Oper Berlin for five seasons, he sang over 30 roles with the company, including: Arkel in Pelléas et Mélisande, Raimondo in Lucia di Lammermoor, Sarastro in Die Zauberflöte, Zuniga in Carmen, and the Hermit in Der Freischutz. The bass also participated in La traviata, Il trittico, Tannhäuser, La fanciulla del West, Die Frau ohne Schatten, Un ballo in maschera, Tosca, Boris Godounov, Lohengrin, Idomeneo, Salome, Andrea Chenier, and Germania.
Mr. Wilson joined the Opernhaus Halle in the 2007-2008 season for performances of Pogner in Die Meistersinger, Oroveso in Norma, Sarastro in Die Zauberflöte, Gremin in Eugene Onegin and The King of Scotland in Ariodante. He was heard on a new recording of Kurt Weill’s Eternal Road, and also sang Handel’s Messiah with the Seattle Symphony and Beethoven’s 9th Symphony with the Brandenburgische Philharmonie Frankfurt. Other European credits include his debut at the Teatro Liceo in Barcelona singing in Britten’s A Midsummer Night’s Dream (available on DVD from Decca), Tannhäuser at the Staatsoper Berlin, Salome at the Théâtre du Capitole de Toulouse, and Aufstieg und Fall des Stadt Mahagonny in Basel (Switzerland).
Equally comfortable on the concert stage, Mr. Wilson recently sang the bass solo in Beethoven’s 9th Symphony with the Tulsa Symphony. Among the orchestras he has performed with in concert are Indianapolis Symphony, Yakima Symphony, Deutsche Oper Orchester, Hallesche Philharmonie, Brandenburgische Philharmonie Frankfurt, Seattle Symphony and Staatskappelle Orchester Berlin.
Previous US engagements have included contracts with Santa Fe Opera (Don Giovanni, La Traviata), Opera Carolina (Nabucco and Lucia di Lammermoor), Lyric Opera of Kansas City (Lucia di Lammermoor), Florentine Opera (A Midsummer Night’s Dream), Palm Beach Opera (Tannhäuser), Minnesota Opera (Die Entführung aus dem Serail), Opera Theatre of St. Louis (The Grand Duchess of Gerolstein and Miss Havisham’s Fire), and Glimmerglass Opera (Salome).
Mr. Wilson earned his Masters Degree from Indiana University, where he studied with renowned bass Giorgio Tozzi.
Caramoor – Il Pirata
As Ernesto, Harold Wilson, a stentorian bass, sang with impressive focus, carrying power and quiet charisma.”
Anthony Tommasini, The New York Times
As Ernesto, the villain of the piece, Harold Wilson poured out warm, firm sound in his entrance aria, to the audience’s delight.”
Fred Cohn, Opera News
Opera Delaware – Semiramide
Basses Harold Wilson (Oroë) and Young-Bok Kim (Nino’s ghost) boomed imposingly and served the drama.”
David Shengold, Opera News
Tulsa Opera – Norma
Harold Wilson, as Norma’s father Oroveso, has the sort of warmly lyrical bass voice that would sound marvelous reciting algebra problems; you wished his character had more to sing.”
James D. Watts, Jr., Tulsa World
Tulsa Symphony – Beethoven’s Ninth Symphony
Here is the music Beethoven wrote,’ this performance said. ‘Make of it what you will.’ At least, that is, until bass soloist Harold Wilson stood up to sing the first words to have been sung in a symphony: ‘Oh friends! Not these sounds! Let us rather raise our voices in more pleasing and more joyful sounds!’ Wilson’s performance of this difficult passage could not have been better. Not only did he handle its technical challenges of range and length with aplomb, but also he truly made it sound joyful, a clarion call to humans coming together with one accord.”
James D. Watts, Jr., Tulsa World
Opera Orchestra of New York – L’Africaine
…bass Harold Wilson unfurled a voice of impressive size and smoothness.”
Mike Silverman, The Associated Press
Santa Fe Opera – Les contes d’Hoffmann
Harold Wilson sings sonorously as Luther and Crespel…”
Scott Cantrell, Dallas Morning News
Santa Fe Opera – Madama Butterfly
Harold Wilson’s Bonze brings fierce wrath to his denunciation of Butterfly’s religious conversion.”
Rodney Punt, LA Opus
Tulsa Opera – Lucia di Lammermoor
Harold Wilson[‘s]…recitation of Lucia’s crime, “Dalle stanze ove Lucia,” was grimly effective.”
James D. Watts, Jr., Tulsa World
Oper Dortmund – Der Freischütz
Harold Wilson performed the role of Eremit with particular presence and grandeur.”
Sonja Müller-Eisold, Der Westen
“Confutatis” from Verdi’s Requiem
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