“Once the Fiordilgi (Tiedmann) and Dorabella (Wilson) began to sing, there was no doubt there
were two formidable actresses with ravishing operatic voices…With some costuming Wilson assumed
the role of the Principessa and Tiedemann the lead in Puccini’s one act tear-jerker “Suor Angelica.”
Their performances were riveting…”
-- Charleston Post and Courier, June 5, 2009, William Furtwangler
“Charleston Chamber Opera’s debut performance certainly conveyed the astoundingly huge ambition
of creating an opera company devoted to presenting chamber opera in a novel fashion...and they have
such good chops! All of them! Lara’s velvety rich mezzo faired better, providing beautiful jealousy
over her mother-in-law’s attention to the Man of both their (former) lives. Charleston Chamber Opera has
set an incredibly lofty and ambitious goal for themselves with this sort of production. They definitely
showed they have the drive and talent to make this marriage of theater with opera open up new audiences
for both forms.”
-- Pilot Season, Charleston Chamber Opera, Piccolo Spoleto 2008
Charleston City Paper June 6, 2008
“Then came the real deal, the “Requiem” soloists. All had great skill and wonderful instruments,
but the true key is how well they sounded together. Ms. Wilson sang with attentive musicianship,
listening carefully to her stage mates and melding beautifully into the ensemble.”
-- Mozart Requiem, Standard Times New Bedford, MA, October 23, 2007
“And then there is Lara Wilson, another New York import who plays Ruth, a general handy mate and
hanger-on with the pirates. Wilson, a tall, reedy bundle of comic moves, gestures and "schticks"
from the traditions created by Charlotte Greenwood and Angela Landsbury, is probably the sharpest of the
show stoppers. It's difficult to look at anyone else when she is on."
--The Kennebec Journal, September 29, 2003
"...mezzo Lara Wilson was excellent as Katisha."
--The Express Times, March 2002
"Lara Wilson was a suitably scheming Lady Blanche."
--The New York Times, January 2000
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