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
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
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
CARAMOOR
Opening Night Concert
July, 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
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
OPERA DELAWARE
Polonio / Amleto
May, 2016
“Harold Wilson…[was] among the other strong cast members. Casting directors take note.”
—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
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