Jennifer Wilson Biography
Jennifer Wilson is an American soprano who is well known for her Wagnerian opera roles. She is the daughter of Newton Wilson, son of the late Frontier Airlines co-founder Raymond Wilson and Katherine Still.
She is the granddaughter and niece of professional singers, instrumentalists, and music educators, Wilson grew up steeped in music from opera and oratorio to rock ‘n’ roll and bluegrass. She began her tap dance lessons at the age of 3, ballet at the age of 8, piano at the age of 10, and solo classical singing at the age of 12.
Jennifer Wilson Age
Jennifer Wilson Age
Jennifer Wilson was born on 1966 in Fairfax, Virginia, USA. She is 52 years old.
Jennifer Wilson Height
Jennifer’s height is 1.88 meters.
Jennifer Wilson Photo
Jennifer Wilson career
Wilson made her professional appear relatively late at the age of 36 in the title role of Puccini’s Turandot with the Connecticut Opera in 2002. She spent much of her career in the chorus of opera houses like Washington opera. Following this appearance, she took a number of major roles in the US although the scheduled artist was unable to appear. Such roles included:
Turandot (Puccini), Houston Grand Opera, 2003/2004 season
Brünnhilde (Wagner): Lyric Opera of Chicago, 2004/2005 season.
It was not until the 2004/2005 season, when she took another role over from Jane Eaglen, due to illness, as Brünnhilde in Wagner’s Götterdämmerung at the Lyric Opera of Chicago, that domestic and international success was to begin. Anne Midgette notes that Wilson’s deserve performance in this role that was made more remarkable by the fact that she had sung Brünnhilde in Die Walküre the previous day. Midgette noted’ “Few people today have the vocal heft and stamina to get through even one of these roles, let alone take on both back to back.”In the same season, she was to make her European operatic appear in Robert Wilson’s production of Die Walküre at the Théâtre du Châtelet in Paris.
The 2006/2007 season she began a multi-season performance in a major, and internationally acclaimed, staging of Wagner’s Der Ring des Nibelungen conducted by Zubin Mehta in Spain, in what has become known as the “Valencia Ring”. She reprised her role of Brünnhilde appearing in Die Walkuere, Siegfried and Götterdämmerung and thus completing her first Ring Cycle.
The 2008/2009 season saw Wilson make her appear in another Wagnerian leading role as Senta in The Flying Dutchman for Washington National Opera (she had previously sung with the company in the chorus).In this season she also made her Royal Opera House, Covent Garden, to appear as Turandot. The 2009/2010 season saw Wilson appearing as Aida for Opera Australia company. She was to repeat this role, returning to Valencia’s Palau de Les Arts where she performed in the La Fura dels Baus Ring Cycle under Zubin Mehta. She performed as Gutrune in Götterdammerung in Los Angeles Opera’s controversial new Ring Cycle. She was also giving major concert performances in New Orleans, Montreal, and Tel Aviv. In 2009 she took another Wagnerian role when she stepped in to replace Deborah Voigt as Isolde in Lyric Opera of Chicago’s revival of the David Hockney production of Tristan und Isolde Wilson later repeated her Isolde in the Hockney production in Barcelona, under the baton of Sebastian Weigle. Isolde was also the role of her appearance at Oper Leipzig and the Hong Kong International Arts Festival in 2011.
Wilson’s European orchestral solo appearance took place in 2005, she was singing the four leading soprano roles in Erwin Schulhoff’s opera Flammen, in a live broadcast from Amsterdam’s Concertgebouw, with the Netherlands Radio Philharmonic Orchestra under Edo de Waart. In the year 2009 she appeared in another Wagnerian role as Elisabeth in the Montreal Symphony Orchestra’s concert performance of Tannhäuser conducted by Kent Nagano Wilson returned to the Montreal Symphony Orchestra in 2009 for Mahler’s 8th Symphony and in 2010 for Beethoven’s 9th Symphony. She performed the role in soprano solo in Verdi Requiem with Master Chorale of Washington and with the New Orleans Opera.In 2011 she appeared as Tove in Gurre-Lieder by Arnold Schoenberg, with Mehta and the Israel Philharmonic Orchestra, in Tel Aviv and Jerusalem, a performance recorded for eventual commercial. Wilson also maintains a successful concert career wherein she has performed.
Jennifer Wilson Net Worth
Her net worth is under review.
Jennifer Wilson Awards
- Major grant from the Olga Forrai Foundation.
- 2003 Robert Lauch Memorial Grant from the Wagner Society of New York
- Liederkranz Foundation’s Ethel Bleakley Daniels Award for Wagnerian Voices.
- Evelyn Lear and Thomas Stewart Emerging Singers Career Grant from the Wagner Society of Washington.
Jennifer Wilson Instagram
Jennifer Wilson Interview
An Opera Singer’s Advice for Saving Your Voice.
This is WEEKEND EDITION from NPR News. I’m Susan Stamberg. When your stock in trade is your voice, the slightest tickle in the back of your throat is enough to make you scream, in your mind anyway. Just ask any actor, politician, play-by-play announcer or, at the risk of jinxing ourselves, radio hosts.
NPR’s Rob Sachs decided to ask somebody who would know best, an opera singer.
ROB SACHS: Meet Jennifer Wilson.
Ms. JENNIFER WILSON (Opera Singer): Basically, people have been telling me that I’m noisy all my life.
Ms. WILSON: (Singing) (Speaking foreign language).
SACHS: She’s been a professional singer since 1991, a soloist since 2002 and from an early age growing up in D.C., she knew the opera was the perfect place for her robust voice.
(Soundbite of music)
Ms. WILSON: (Singing) (Speaking foreign language)
SACHS: But outside the opera house, Jennifer’s voice is a more moderate tenor. You’d never notice she was packing that much heat.
Ms. WILSON: Many actors don’t speak any word that they aren’t being paid for, and with singers, it has to be sort of the same thing because our voice is our livelihood.
SACHS: Nearly all operas are performed without microphones, so it’s up to Jennifer to use her own voice to fill out those big opera houses. Add to that, she sometimes has to project herself over a 120-piece orchestra playing at full tilt. So you can imagine she’ll do anything to protect her voice, and it goes a lot further than just drinking a warm cup of tea, which can actually have the opposite effect.
Ms. WILSON: Because any caffeinated beverage is going to cause you vocal chords to dry out eventually.
SACHS: So she has a routine.
Ms. WILSON: I take 200 to 400 milligrams of coenzyme Q10 per day to keep my immune system in top form.
SACHS: Unfortunately, that’s not working right now.
Ms. WILSON: I’m suffering from a cold at the moment, as you may be able to hear.
(Soundbite of coughing)
Ms. WILSON: Excuse me.
SACHS: So she uses a humidifier at home and the next best thing when she’s out of town.
Ms. WILSON: In Santa Fe when I was there, we had swamp coolers rather than air conditioners that actually dispersed water vapor into the air as a fan blew behind it.
SACHS: And come performance time, things get even more extreme.
Ms. WILSON: I avoid noisy restaurants, you know, no rock concerts, no sporting events. I mean, I really try to avoid speaking to the extent that I have actually carried around a piece of paper and a pencil.
(Soundbite of music)
Ms. WILSON: (Singing) (Speaking foreign language).
SACHS: One thing she hasn’t had, though, is laryngitis, which can be deadly for any opera production, since performances mostly just run a few weeks and often without the benefit of understudies. So when someone actually does come down with laryngitis, it’s pretty common to have a backup singer sing from the orchestra pit while the main actor lip-synchs on stage, and there are even other ways to improvise.
Ms. WILSON: I did attend a performance, which is sort of legendary, where in “La Boheme,” the Marcello was sick, and the fellow who knew the role, he ended up singing both his role and Marcello’s role from the stage. In fact, the original Marcello was on the stage mouthing and acting his part while the other fellow sort of surreptitiously sang, pretending to be reading a book or something, and then when his time to sing his part would come, he would step up and sing his role.
(Soundbite of opera, “La Boheme”)
Unidentified Man #1 (Opera Singer): (As character #1) (Singing) (Speaking foreign language).
Unidentified Man #2 (Opera Singer): (As character #2) (Singing) (Speaking foreign language).
SACHS: Well, Jennifer has never had to do anything like that, but she can relate to the idea of playing two parts at once. As the lead soprano for the Washington National Opera’s current production of “The Flying Dutchman,” Jennifer gets to be the prima donna on stage, but offstage, she has to shut down her boisterous pipes to preserve them for the next performance, and while being the glass-breaking, shrieking type, Jennifer says playing this other role has helped her develop an unexpected skill set.
Ms. WILSON: You know, it does make you a diplomat because if you don’t have the volume at your disposal, then you have to find another way.
SACHS: If Jennifer ever really does lose that amazing voice, maybe there’s a second career out there for her, in the foreign service.