Reviews
BARD SUMMERSCAPE
Morosus / Die Schweigsame Frau
July, 2022
"Harold Wilson commands a sonorous bass as the proud, endearing Morosus….The opera closes with a reflection far removed from the prevailing mayhem….As the strings swelled, Wilson's Morosus stepped forward, offering a glimpse of peace, sung with touching restraint, from an ailing, unemployed retiree at the end of his life."
—Oussama Zahr, New York Times
"Harold Wilson as Sir Morosus, who only wants quiet, is both dignified and blustering and his range covers the high F sharp and the low D flat required."
—Robert Levine, bachtrack
"Harold Wilson brings a honey bass and similarly fine comic acting to Morosus."
—David Fox, Parterre Box
"Harold Wilson plays Morosus with an apt blend of bluster and amicability."
—George Loomis, Financial Times
—Oussama Zahr, New York Times
"Harold Wilson as Sir Morosus, who only wants quiet, is both dignified and blustering and his range covers the high F sharp and the low D flat required."
—Robert Levine, bachtrack
"Harold Wilson brings a honey bass and similarly fine comic acting to Morosus."
—David Fox, Parterre Box
"Harold Wilson plays Morosus with an apt blend of bluster and amicability."
—George Loomis, Financial Times
METROPOLITAN OPERA
Bertrand / Iolanta
January, 2019
"The bass Harold Wilson was very fine — secure and resonant — in the smaller role of Bertrand."
—Zachary Woolfe, New York Times
"Tall and forbidding, bass Harold Wilson made an arresting impression in the small role of Bertrand; one wanted more."
—Christopher Corwin, Parterre Box
—Zachary Woolfe, New York Times
"Tall and forbidding, bass Harold Wilson made an arresting impression in the small role of Bertrand; one wanted more."
—Christopher Corwin, Parterre Box
CARAMOOR
Ernesto / Il Pirata
July, 2017
"As Ernesto, Harold Wilson, a stentorian bass, sang with impressive focus, carrying power and quiet charisma."
—Anthony Tommasini, New York Times
"As the third side of the traffic triangle, Imogene's husband Ernesto, bass Harold Wilson made an imposing foe for Gualtiero, his suave voice making the piece's villain somehow charismatic and even a bit sympathetic."
—Richard Sasanow, Broadway World
"Wilson as Imogene’s unloved husband and Gualtiero’s arch enemy Ernesto sang with imposing tonal thrust and confidence with a rock solid high F; for a bass he handled this baritone role with surprising ease."
—Eli Jacobson, Gay City News
"…Harold Wilson, a virile, growling bass with energy and flavor…"
—John Yohalem, Parterre Box
"Harold Wilson sang the role of Ernesto, Duke of Caldora (and Imogene’s husband) with a strong voice that projected authority."
—James L. Paulk, Classical Voice America
"Harold Wilson lent his profound bass to the role of Ernesto."
—Gregory Moomjy, Bachtrack
"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
"As the heavy in this triangle, bass Harold Wilson brought a ferocious, macho character to Ernesto."
—Heidi Waleson, The Wall Street Journal
—Anthony Tommasini, New York Times
"As the third side of the traffic triangle, Imogene's husband Ernesto, bass Harold Wilson made an imposing foe for Gualtiero, his suave voice making the piece's villain somehow charismatic and even a bit sympathetic."
—Richard Sasanow, Broadway World
"Wilson as Imogene’s unloved husband and Gualtiero’s arch enemy Ernesto sang with imposing tonal thrust and confidence with a rock solid high F; for a bass he handled this baritone role with surprising ease."
—Eli Jacobson, Gay City News
"…Harold Wilson, a virile, growling bass with energy and flavor…"
—John Yohalem, Parterre Box
"Harold Wilson sang the role of Ernesto, Duke of Caldora (and Imogene’s husband) with a strong voice that projected authority."
—James L. Paulk, Classical Voice America
"Harold Wilson lent his profound bass to the role of Ernesto."
—Gregory Moomjy, Bachtrack
"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
"As the heavy in this triangle, bass Harold Wilson brought a ferocious, macho character to Ernesto."
—Heidi Waleson, The Wall Street Journal
CARAMOOR
Opening Night Concert
June, 2017
"Bass Harold Wilson strutted heartily through the “Air du Tambour-Major” from Thomas’ “Le Caïd,” with range and voice to burn."
Eli Jacobson, Gay City News
Eli Jacobson, Gay City News
OPERA DELAWARE
Oroe / Semiramide
April, 2017
"The first voice one hears is that of Indiana-trained bass Harold Wilson, active in recent years in Germany and the US. It is so resonant and full that one is tempted to refocus the entire drama on the high priest."
Andrew Moravcsik, Opera Today
Andrew Moravcsik, Opera Today
OPERA DELAWARE
Polonio / Amleto
May, 2016
“Harold Wilson…[was] among the other strong cast members. Casting directors take note.”
Anne Midgette, Washington Post
Anne Midgette, Washington Post
OPERA COLORADO
Ramfis / Aida
November, 2015
“Bass Harold Wilson was most notable for his uncompromising portrayal of the high priest Ramfis.”
Kelly Dean Hansen, Boulder Daily Camera
Kelly Dean Hansen, Boulder Daily Camera
OPERA COLORADO
Sarastro / Die Zauberflöte
May, 2015
"Bass Harold Wilson plays the high priest Sarastro in a remarkably unpretentious way, giving the character an almost Zen-like aura….Wilson was particularly affecting in the aria "In diesen heiligen Hallen."
Kelly Dean Hansen, Boulder Daily Camera
Kelly Dean Hansen, Boulder Daily Camera
Tulsa Opera
Friar Lawrence / Roméo et Juliette
February, 2015
“Harold Wilson’s equally powerful, if more gently employed, bass gave his Friar Lawrence dignity and compassion.”
James D. Watts, Jr., Tulsa World
James D. Watts, Jr., Tulsa World
TULSA OPERA
Ramfis / Aida
April, 2013
"Harold Wilson's resonant baritone made for a magisterial high priest Ramfis...."
James D. Watts, Jr., Tulsa World
James D. Watts, Jr., Tulsa World
ST. CECILIA CHORUS AND ORCHESTRA
Carnegie Hall
Bass Soloist / Verdi's Requiem
"Mr. Wilson gave a fine performance of the bass solo part. His sound is full and solid, and his Confutatis was a pleasure to hear. His 'Mors stupebit' at the end of Tuba mirum was delightfully in tune--frankly, something so unusual that it sounds odd for the strings to enter in the same key as the soloist after the brief passage."
David Browning, Huffington Post
David Browning, Huffington Post
SAINT THOMAS CHURCH ON FIFTH
Bass Soloist / Messiah
December, 2011
"[Harold Wilson's] 'Why do the nations so furiously rage' was masterly, and his timbre and vocal weight made 'Thus saith the Lord,' with its prophecy of shaking the heavens, earth and sea wholly believable."
Allan Kozinn, The New York Times
Allan Kozinn, The New York Times
MADISON OPERA
Gremin / Eugene Onegin
November, 2011
"With his strong bass voice, Harold Wilson was ideal as the admirable Gremin, making the most of the character’s one memorable scene."
John W. Barker, The Well-Tempered Ear
John W. Barker, The Well-Tempered Ear
TULSA OPERA
Oroveso / Norma,
May, 2011
"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
James D. Watts, Jr., Tulsa World
TULSA SYMPHONY
Bass Soloist / Beethoven's Ninth Symphony
April, 2011
"'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
James D. Watts, Jr., Tulsa World
OPERA ORCHESTRA OF NEW YORK
High Priest of Brahma / L'Africaine
March, 2011
"… bass Harold Wilson unfurled a voice of impressive size and smoothness."
Mike Silverman, The Associated Press
Mike Silverman, The Associated Press
SANTA FE OPERA
Luther, Crespel / Les contes d'Hoffmann
August, 2010
"Harold Wilson sings sonorously as Luther and Crespel...."
Scott Cantrell, Dallas Morning News
Scott Cantrell, Dallas Morning News
TULSA OPERA
Raimondo / Lucia di Lammermoor
October, 2009
"Harold Wilson['s]...recitation of Lucia's crime, "Dalle stanze ove Lucia," was grimly effective."
James D. Watts, Jr., Tulsa World
James D. Watts, Jr., Tulsa World
OPER DORTMUND
Eremit / Der Freischütz
April, 2009
"Mit besonderer Ausstrahlung und Grandezza gestaltete Harold Wilson den Eremiten...."
(Harold Wilson performed the role of Eremit with particular presence and grandeur.)
Sonja Müller-Eisold, Der Westen
(Harold Wilson performed the role of Eremit with particular presence and grandeur.)
Sonja Müller-Eisold, Der Westen
OPERA CAROLINA
Raimondo / Lucia di Lammermoor
May 2004
"The drama deficit counted for little when Sumi Jo and Harold Wilson, as Raimondo, were making the music.... Wilson was consistently impressive as the stolid Raimondo, particularly narrating the horrors of Lucia's nuptial bed...."
Perry Tannenbaum, Creative Loafing
Perry Tannenbaum, Creative Loafing
