• Una Cosa

"Soprano Mary Wilson was both impressive and endearing as the dotty Queen of Spain, and she certainly seemed to enjoy her silly onstage shenanigans. She wowed the audience during many of her numbers, particularly the virtuoso rondo in Act II. A great example of Cosa rara's more elevated musical style for the noble characters, Wilson nailed the difficult technical passages in this aria with finesse and good taste in ornamentation." Opera Today



MESSIAH (Handel)

"Soprano Mary Wilson is an unequivocal pleasure, a voice of penetrating clarity wielded expressively. With her, the beauties of the “Rejoice” aria extend through the technical passages, and in “But Thou Didst Not Leave,” the sense of empathy is unmistakable. Even her ornaments carry meaning."
The Cleveland Plain Dealer

“The discovery was Mary Wilson, a fine lyric soprano with focused, lustrous tone and sterling enunciation.”  The Philadelphia Inquirer

“Of the four vocal soloists, soprano Mary Wilson had the most opportunity to show her talents, with are many.  The clear quality of her voice made her fast coloratura passages very impressive.  She also had emotional depth in slower, more expressive sections.” 
The Virginian-Pilot

“The performance of Handel’s Messiah …. was the best one this reviewer has heard in more than four decades. Why?  The soloists had magnificent voices and knew how to use them to offer their listeners a vivid experience of the text. … Mary Wilson has a dulcet and soaring soprano voice, and when she sang her Rejoice greatly aria, she actually beamed. During her rendition of I know that my Redeemer liveth, goose bumps were the mass reaction.” 
The Argus (Rock Island, Illinois)

“Then there was soprano Mary Wilson’s “I know that my Redeemer liveth,” sung with such expansive and soaring beauty that again brought tears to my eyes.”
Classical Voice of North Carolina

"Supreme among the soloists was soprano Mary Wilson.  Her brilliant high register, amazing agility and textural range from brass to butter brought the evening to life in "Rejoice greatly." 
San Antonio Express-News

“The soloists were just as terrific. Soprano Mary Wilson … spat out the words with more than common clarity and consistency.” 
St. Louis Post-Dispatch


Mass in C-Minor (Mozart)

“Beyond a doubt, the vocal highlights were soprano Mary Wilson’s “Laudamus te” and “Et incarnates est.” If only modern composers could come to terms with the marriage of beauty and difficulty the way Mozart did, concert halls would once again overflow. Those two soprano solos contained some of the most incredibly challenging and breath-takingly gorgeous vocal writing in all of the repertoire. Sudden leaps of two octaves, rapid passagework better suited to the violin or the piano than the voice – you name it, Mozart threw it at the soprano soloist, knowing, we were told, that his wife Constanze would sing the first performances (and that she was presumably capable of surmounting any technical hurdle he placed in her way). Wilson tossed off the fiendishly difficult numbers as though they were two-page Schubert Lieder, all the while projecting the utmost joy and ease in her singing."
The Republican

“This mass is known for its soprano solos.  Mary Wilson, a light-toned soprano, performed hers with refined expression, and handled florid lines, trills and melismas well.” 
The Cincinnati Enquirer

“…her pure, sweet voice was well matched to her solos, especially the lovely Et Incarnatus.” 
The Cincinnati Post

“Wilson was especially notable” 
The Ann Arbor News

“[Nicholas McGegan] clearly enjoyed the company of the four vocalists.  Among them, sopranos…and Mary Wilson were particularly impressive, especially when weaving their voices about one another on Domine Deus or soaring above the orchestra on the fugal Quoniam.” 
St. Paul Pioneer Press


Carmina Burana (Orff)

“Soprano Mary Wilson beautifully did what she was hired to do.”
Detroit Free Press

“The three excellent soloists were soprano Mary Wilson… That they all hit their money notes with consistency might have been enough, but what elevated their contribution was how each one dealt with the unrelenting high tessitura while maintaining emotional involvement and establishing dramatic personae. Mary Wilson floated her glowing high D seemingly forever in Orff’s only affirming and consoling moments… The ovation at the end featured the loudest and most sustained cheering that this reviewer has ever heard in staid classical environs.”
Boston Musical Intelligencer

“Of particular note was the solo work by soprano Mary Wilson.  Wilson displayed effortless strength and precision, her voice particularly striking in the upper registers.  She has that paradoxical capacity to sing with strength and yet produce a gentle effect.” 
The Forum of Fargo-Moorhead

“Soprano Mary Wilson sang radiantly” 
St. Louis Post-Dispatch

“…and soprano Mary Wilson delivered lovely, floating solos in the final third of the work.” 
Classical Radio KUAT-FM Tucson

“They had in soprano Mary Wilson a kindred spirit.  She soared to even the highest notes with the apparent ease of a young singer, though her training and experience are substantial.” 
The Virginian-Pilot

“Wilson also was in that “Figaro” production, in the lead role of Susanna.  On Thursday, she proved why many in the opera world are heralding her as an emerging star.  She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing.  She literally stole the spotlight from…”  Arizona Daily Star


Ein Deutsches Requiem (Brahms)

“The fifth movement afforded soprano Mary Wilson, a guest soloist based in New York, her big moment, and she made the most of it.  Her articulation was focused, her phrasing passionate.” 
The Indianapolis Star

“Wilson communicated the message with the clear tone of her voice and her sweet, comforting smile.”  River Cities’ Reader

“The soprano soloist soared effortless and serenely.” 
Classical Voice of North Carolina

Portland Press Herald


Knoxville: Summer of 1915 (Barber)

“The haunting music, which gives one renewed hope for the Republic, seemed made for Wilson’s soprano.”  Portland Press Herald


Flight (Dove)

“Soprano Mary Wilson sang with extraordinary clarity, exhibiting a facile top-of-the-ladder range.”
Keith Powers, Boston Herald

“In two of the richer roles, Mary Wilson’s Flight Controller had a soaring luster that really sounded like the voice of the sky…”
Wayman Chin, Opera News

“High above all else on stage (in a vocal and physical sense) was soprano Mary Wilson’s misanthropic Flight Controller, whose nightmare is grounded planes and the resulting stranded passengers who clutter up her airport. Wilson sang her soaring lines effortlessly and achieved surprisingly good diction considering the dauntingly high tessitura of her part. It’s hard to interact effectively with the rest of the cast from such a distance, but Wilson pulled it off.”
Sarah Bryan Miller, The St. Louis Post-Dispatch

“Mary Wilson sails fearlessly into the Controller’s stratospheres …”
The Dallas Morning News

“…this season’s hit, and it is not hard to see why…,the cast was without a weak link, from Mary Wilson’s Flight Controller and …”
John Allison, Opera magazine from London

“Music director Stephen Lord is, naturally enough, focused primarily on the singers. “In Flight, you’ve got (local favorite) Mary Wilson singing high Qs every few moments – she’s just amazing.”
The St. Louis Post-Dispatch

 “The Flight Controller has to sing in a Queen of Night stratosphere—appropriately enough as she is placed physically above the action, a sort of dea ex machina—and Mary Wilson did so with diamantine attack.”
Hugh Canning, The Sunday Times (London)

“Mary Wilson was fearless as the Controller, whose stratospheric tessitura must make the Queen of the Night seem a breeze; significantly, this dea ex machina was situated at the eagle’s head.”
Lawrence J. Dennis, Opera Canada


Ariadne auf Naxos

“Mary Wilson was a fabulous Zerbinetta, no mere flighty chanteuse-danseuse but a sensible, sensitive girl whose idea of fun just happened to involve men. …her bright, beautiful tone never faltered, and everything was wrapped in effortless suavity.”
Opera News

"As Zerbinetta, the happy-go-lucky foil to Ariadne, Mary Wilson was superb. Her handling of the coloratura showcase, "Grossmachtige Prinzessin," in which Zerbinetta describes life and love the way she sees it, was a bravura moment. Wilson seemed to be having a huge amount of fun as she cavorted around the stage, singing with deceptive ease one of the most demanding arias in the repertoire."
Tulsa World

"Tulsa had a first-rate Zerbinetta in Mary Wilson. No mere flibbertigibbet, she plays the entertainer as a sensible, sensitive girl whose idea of fun just happens to involve men. And her bright soprano seems to know no terrors, wrapping itself seductively around every phrase."
The Dallas Morning News

Joseph Merrick, dit Elephant Man:

"Merrick's high-society patrons are depicted as far more monstrous than he. This point was driven home magnificently by La Colorature, who showed up in full diva regalia and delivered a freakish, impossibly high virtuoso aria, oscillating maniacally across the interval of a minor seventh. Soprano Mary Wilson giddily knocked off this terrifying number as if she were having the time of her life."
Opera News

“…the coloratura, who stands for Merrick’s fickle public, and for whom Petitgirard has written a staggeringly difficult, high-pitched aria – sung with suberb pizzazz by Mary Wilson.”
Minneapolis Star-Tribune

“Soprano Mary Wilson provided phenomenal high notes and astonishingly arduous singing in her scene as 'a celebrated diva'.”
Opera Magazine


Le Nozze di Figaro

”Far better was the Susanna of Mary Wilson, all grace and charm, with a warmly expressive voice, luxuriant of tone.”
Opera News

“He was more than matched however, by soprano Mary Wilson, whose rich and supple voice gave Susanna -Figaro’s intended- a certain strength and depth.”
Dayton Daily News


Una Cosa Rara

“It’s worth going just for the first-class cast. Silvery-voiced soprano Mary Wilson is a royally ditzy Queen Isabella, with exquisite comic timing and a flawless vocal line.”
St. Louis Post-Dispatch

“Soprano Mary Wilson was both impressive and endearing as the dotty Queen of Spain, and she certainly seemed to enjoy her silly onstage shenanigans. She wowed the audience during many of her numbers, particularly the virtuoso rondo in Act II. A great example of Cosa rara’s more elevated musical style for the noble characters, Wilson nailed the difficult technical passages in this aria with finesse and good taste in ornamentation.”
Opera Today




"Timid directors might water down the abduction of Rigoletto’s daughter Gilda (stunningly sung by soprano Mary Wilson)... And Wilson, who last appeared with Arizona Opera in 2006’s “The Marriage of Figaro,” possessed an arresting soprano and a beguiling innocence that convinced you she truly believed the lecherous Duke loved her. Her dramatic Act II aria “La vendetta” stole our breath."
Arizona Daily Star


Mary Wilson's voice was perfection for Gilda — light, young, virginal yet with remarkable projection of the high head tones way to the back of the house. Her “Caro Nome” was sensitive and pure, a pleasure to hear, as was the high B in the death scene duet. We need to hear more of her in the future."
Green Valley News & Sun