© Matthew Williams-Ellis
Claire Wild attended the Royal Northern College of Music‚ sponsored by the Peter Moores Foundation and the Musicians Benevolent Fund. She won the Webster Booth Award‚ the James Oncken Song Prize and the Frost Brownson Award.
In the current season engagements include Wolf Witch Giant Fairy at the Royal Opera House Linbury Theatre; recording Margaret Bonds’ Credo with the BBC National Orchestra of Wales; and workshopping a new production of Carmen for Baseless Fabric Theatre.
Highlights in recent seasons include Emma Khovanshchina, Lilli Vanessi/Katharine Kiss Me, Kate and Elle La voix humaine for Welsh National Opera; Caridad The Skating Rink in her debut for Garsington Opera; Minerva in Il ritorno d’Ulisse in patria for Longborough Festival Opera; and Mimì La bohème for OperaUpClose.
Operatic roles include Frasquita Carmen, Alyeya From the House of the Dead, Gretel, Sandman and Dew Fairy Hansel and Gretel‚ Zerlina Don Giovanni, Emmie Albert Herring‚ title role L’enfant et les sortilèges‚ Papagena‚ Esmeralda and Despina (all for Opera North); Potboy/Child Prodigy The Excursions of Mr Brouček (Opera North and Scottish Opera); Gretel Hansel and Gretel and Herald The Minotaur (Scottish Opera); Zerlina Don Giovanni (Opera Holland Park); Leona La Belle Hélène (English National Opera); Priestess Iphigenie en Tauride (The Royal Opera); Walter La Wally (Chelsea Opera Group); Frasquita (Raymond Gubbay); Papagena (Komische Oper); Cherubino (Theater Bielefeld); and Lucio Cinna Lucio Silla (Bielefeld Philharmonic).
Claire has a passion for contemporary music and her performances include Quin Knight Crew (Glyndebourne Education); Frog How the Whale Became, Maths and Mozart, Pussycat The Owl and the Pussycat, Martine Babette’s Feast and a new Errollyn Wallen commission Yes! (Royal Opera House); Nausikaa in Edward Rushton’s Birds‚ Barks and Bones and The Bird in Judith Weir’s Blonde Eckbert (The Opera Group); and the title role in Richard Ayres The Cricket Recovers (Almeida/Aldeburgh Festival and in Stuttgart).
Concert repertoire includes Elijah, Messiah‚ Carmina Burana, Bach St Matthew Passion, Mozart C Minor Mass. She has performed Dallapicolla Commiato and Stravinsky Pulcinella (Royal Northern Sinfonia) and Christmas and New Year Galas (Raymond Gubbay, Orchestra of Opera North, Royal Liverpool Philharmonic and London Concert Orchestra), Messiah (City of Birmingham Symphony Orchestra)‚ Richard Ayres’ No 30 (Janáček Philharmonic at the Ostrava New Music Festival) and was the singer in a live performance film version of 1395 Days Without Red (Festival d’Automne‚ Centre Pompidou‚ Paris) with music by Ari Benjamin Meyers. She also appeared in Channel Four’s Twelfth Night (director Tim Supple). Claire’s recordings include the role of Fatima in Mercadante’s Zaira for Opera Rara.
Minerva / Il ritorno d’Ulisse in patria / Longborough Festival Opera/ 2021
“…Minerva is a tattooed Riot Grrrl in chunky DMs, hair tied back for action but tumbling down as she watches the final triumph of courage and love, and Claire Wild – singing with flashing, sensuous expression – manages to make her simultaneously compassionate and formidable…”
(The Arts Desk)
“Minerva, the lithe-voiced Claire Wild”
(Opera)
Caridad / The Skating Rink / Garsington Opera / 2018
“Claire Wild’s hauntingly vulnerable Caridad, frighteningly convincing as a desperate junkie, Wild’s glorious soprano conveying shock and despair in equal measure, her performance notable for its forensically accurate physical detail.”
(Bachtrack)
Lilli Vanessi/Katherine / Kiss Me, Kate / Welsh National Opera / 2016
“Claire Wild assumed the role of Katharine – by turns, infuriatingly haughty and winningly capricious. The songs sung by Lilli Vanessi and Shakespeare’s Katharine showed Wild’s range. ‘So in love’ was sung with fine feeling and sensitive phrasing while the deliciously puffed-up ‘I hate men’ was a feast of feisty fury.”
(Opera Today)
“Claire Wild stepped into the role as if born to play it. She was sassy, headstrong, had a nice line in anger, mixed with a bit of hysteria and a voice to die for…”
(Behind the Arras)
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