Born in Scotland, Mark Wilde was a chorister at Dundee Cathedral before studying at the University of East Anglia and the Royal College of Music.
His operatic engagements have included the title role in Candide, Don Ottavio Don Giovanni, Idamante Idomeneo and Alfredo La traviata for Birmingham Opera Company, Snout A Midsummer Night’s Dream at the Teatro Municipale Reggio Emilia and the Teatro Petruzzelli, Bari, Snout A Midsummer Night’s Dream, Albafiorita Mirandolina, Pedrillo Die Entführung aus dem Serail, Comte Miguel La Périchole and Giannetto La gazza ladra for Garsington Opera, Male Chorus The Rape of Lucretia for the European Opera Centre, Cat The Adventures of Pinocchio and Jonathan Saul for Opera North, Second Soldier The Coronation of Poppea and Frederic The Pirates of Penzance for English National Opera, Ferrando Così fan tutte for Glyndebourne Festival Opera, Ferrando Così fan tutte and The Seven Deadly Sings for Welsh National Opera, Don Ottavio Don Giovanni for the Mostly Mozart Festival, the title role in Idomeneo for Blackheath Halls Opera, Count Almaviva The Barber of Seville for Savoy Opera and Rudolf Euryanthe for the Netherlands Opera.
He has established a particularly close relationship with English Touring Opera, for whom he has sung the title role in Albert Herring,Flute A Midsummer Night’s Dream, Johnny Inkslinger Paul Bunyan, Ugone Flavio, Tito La clemenza di Tito, Tamino The Magic Flute, Don Basilio The Marriage of Figaro, Farmer Bunce The Fantastic Mr Fox and The Fairy Queen.
Mark Wilde sings regularly in concert, his engagements including performances with the Aalborg Symphony Orchestra, the Academy of Ancient Music, the Britten Sinfonia, the City of Birmingham Symphony Orchestra, the City of London Sinfonia, the Finnish Baroque Orchestra, the Hanover Band, the Lahti Symphony Orchestra, the Odense Symphony Orchestra, the Royal Philharmonic Orchestra, the RTÉ Concert Orchestra, the Russian National Orchestra, the Tokyo Symphony Orchestra and the Ural Philharmonic. His repertoire ranges from Bach and Handel through Haydn and Mozart to Britten and Elgar.
His recordings include Britten Complete Scottish Songs, Corp Country Matters and Handel Ode for St Cecilia’s Day (Naxos), Pia de’Tolomei, Alesandro nell’Indie, Corrado d’Altamura, Adelaide di Borgogna, La donna del lago and Rossini Songs (Opera Rara), The Adventures of Pinocchio (Opus Arte Blu Ray / DVD), Elgar Songs (Avie), Sullivan The Golden Legend and The Prodigal Son (Hyperion), Ancient Melodies (Docker Records) and Fame’s Great Trumpet – Songs by Britten and Norris (EMI Records). Most recently released is Stainer The Crucifixion (Herald CD).He recently sang Monsieur Triquet Eugene Onegin for Garsington Opera at Wormsley, and his current engagements include Berenice Hipermestra for Glyndebourne Festival Opera, the St Matthew Passion with the RTÉ National Symphony Orchestra and Messiah with the Ulster Orchestra.
Mark Wilde is a Professor of Singing at the Royal Academy of Music, London.
Please note that this biography is not to be used for programmes. Current information is available on request.
St John Passion / Irish Chamber Orchestra
“Mark Wilde’s tortured remorse generates its own intensity.”
Albert Herring / English Touring Opera
“Mark Wilde, as Albert, was stunning – genuinely funny and touching by turns, especially in his long scena…”
“Mark Wilde’s strongly sung Albert gets the balance between innocence and anger just right….”
“Mark Wilde, in the title role, gave a compelling performance…”
Seen and Heard International
“Sweet-voiced tenor Mark Wilde is ideally cast in the title role, equally adept at Herring’s intiial repression as at his subsequent endearing boisterousness.”
Johnny Inkslinger: Paul Bunyan / English Touring Opera
“…lyrically sung by Mark Wilde.”
“This is an ensemble piece with no weak links in the vital cast, but there are memorable standouts from (IA) Mark Wilde’s astute Johnny Inkslinger…
“From a vocal point of view, Mark Wilde as the bookish Johnny Inkslinger stands out.”
Britten: Complete Scottish Songs / Naxos CD
“The Scottish tenor has matured into one of our finest artists with time’s passing, musically astute, vocally impressive and a generous communicator.:
“Wilde takes his time and uses his pliable voice to play with light and shade in atmospheric performances.”
Berenice: Hipermestra / Glyndebourne Festival Opera
"(Mark) Wilde was witty without resorting to caricature and remained musically secure, though highlighting the points of comedy as necessary."
"...bearded and in drag, Mark Wilde is splendid as (Hipermestra's) cynical nurse, Berenice, who provides the much needed moments of knockabout humour."
“One is left with some glorious memories, notably Raffaelle Pe’s haut-contre purity, Benjamin Hullett’s vibrant tenor, Renato Dolcini’s baritonal warmth, Ermoke Barath’s soprano steel, Ana Quintans’s soprano sweetness, and the hilarious lord-of-misrule antics of Mark Wilde’s Berenice, here a dead ringer for Baba the Turk. “
"Mark Wilde’s Berenice was the audience favourite of course, his delivery just the right side of outrageousness, and never disguising the fact that this is a very fine tenor voice."
Fame’s Great Trumpet (Songs by Britten and Owen Norris) / EMI CD
“…a wonderfully varied reading, bringing out the warmth of the lyrical ‘Since she whom I lov’d’ and the bite of ‘Batter my heart’ and ‘Death be not proud’, making an impressive close to the sequence.”
Ugone: Flavio / English Touring Opera
“Mark Wilde’s portrayal of Ugone is an unbridled delight…”
What’s On Stage
Count of Albafiorita: Mirandolina / Garsington Opera
“There is some lovely writing for woodwind, and some gleeful campery from Mark Wilde and Andrew Slater as Mirandolina's other suitors…”
The Independent on Sunday
“…a marvellously on form Andrew Slater and Mark Wilde”
Music & Vision
“Geoffrey Dolton, Andrew Slater and Mark Wilde (as the toffs), Daniel Norman and Stuart Haycock (as the servants) and Mary Hegarty and Jean Rigby (as a pair of silly passing actresses) all turn in accomplished performances…”
Tito: La Clemenza di Tito / English Touring Opera
“Mark Wilde's plausibly human account of the title role was a welcome change from the po-faced righteousness with which it is often treated, helped by his naturally warm demeanour and attractive edge-free voice.”
“Mark Wilde paints a convincing portrait of a nerdy young Emperor who may not be as naïve as he looks.”
Pedrillo: Die Entführung aus dem Serail / Garsingon Opera
“Wilde’s lovely tenor, always musical and used with sensitivity, was coupled with a strong stage presence.”
“Susanna Andersson and Mark Wilde make a delightful pair as the subsidiary lovers Blonde and Pedrillo.”
New York Times
“…his agile light-lyric tenor hit the vocal spot regularly and persuasively.”
“Mark Wilde as Pedrillo, cum football reporter, is a class act vocally and acts with conviction…”
Seen and Heard International
“Susanna Andersson and Mark Wilde sparkle merrily through Blonde and Pedrillo’s arias…”
Don Basilio: The Marriage of Figaro / English Touring Opera
“Mark Wilde was a deliciously preening Don Basilio.”
Idamante: Idomeneo / Birmingham Opera Company
“Mark Wilde made a vibrant Idamante.”
Idomeneo / Blackheath Halls Opera
“Mark Wilde played and sang the conflicted King with heroic tone.”
The Sunday Times
Tamino: The Magic Flute / English Touring Opera
“Mark Wilde sings Tamino with an Italianate ring that is nicely smoothed at the edges.”
“The youthful leads were all enjoyable: Mark Wilde as a lyrical, scrupulously stylish Tamino.”
Rossini: Petite Messe Solennelle / Three Choirs Festival 2016
“Mark Wilde was the stylish tenor. I especially appreciated the ringing tone and open-throated Italianate style that he brought to ‘Domine Deus’. This may not be quite as challenging an aria as the tenor solo in Rossini’s Stabat Mater – no top D flats for a start – but it’s still a challenging solo and a long one. Wilde did very well indeed and I liked very much his sensitive dynamics in the central section of the aria.”
Seen and Heard International
Stainer: The Crucifixion / Herald CD
“Declaiming his recitatives with unerringly clear diction and emotional forthrightness that never obscure the natural beauty of the voice, tenor soloist Mark Wilde movingly fulfills his evangelical duties. In the work’s opening recitative, ’And they came to a place called Gethsemane,’ and The Agony, the tenor, united in the latter with his baritone colleague, conveys the breathless tension of the events described whilst maintaining superb breath control. Wilde employs his silver-clad tones to sublime effect in The Majesty of the Divine Humiliation. There are in the strains of ‘Jesus said, Father, forgive them’ senses of magnanimity and inevitability, a benedictory acceptance of the fulfillment of destiny. The sadness that pervades Wilde’s reading of ‘When Jesus therefore saw His Mother’ is all the more affecting for seeming so personal. ‘After this, Jesus knowing that all things were now accomplished’ is sung with absolute commitment and unforced tonal beauty. In this performance, Wilde is a fantastic singer with none of the manifestations of ego that often compromise the integrity of singing at this level. Compared with previous recorded interpreters of this music, Wilde is more comfortable with Stainer’s idiom than the overtly operatic but bronze-voiced Richard Crook and possesses a timbre more attractive than Robert Tear’s. Wilde sets a new standard for the performance of the tenor solos.”
Voix des Arts
Sullivan: The Golden Legend / Hyperion CD
“…Mark Wilde as Prince Henry‚ with his clear‚ unstrained‚ distinctive tenor.”
Sullivan: The Prodigal Son / Hyperion CD
“Sullivan’s command of vocal forces is impressive, and tenor and baritone especially have winning solos and a moving duet, which Mark Wilde and Garry Magee do proud.”
M. Triquet: Eugene Onegin / Garsington Opera at Wormsley
“Mark Wilde was an affecting half-sad, half-comic Triquet…”
“Mark Wilde’s Triquet was one of the best we’ve heard, his acting as splendidly oleaginous as his singing was mellifluous…”
“…as opposed to the camp stereotype too often trotted out, Mark Wilde created a charming cameo as Monsieur Triquet.”
“…the artificiality of Monsieur Triquet’s ode to her was wittily brought out by Mark Wilde, relieving dramatic tension temporarily and adding a dash of humour.”
Seen and Heard International
“…luxury casting of Monsieur Triquet (Mark Wilde)…”
“All of the secondary roles go well, with Mark Wilde offering sensitivity and charm in his cameo appearance as Monsieur Triquet.”
“Mark Wilde’s uncaricatured Monsieur Triquet rounds off an exceptional cast…”
“Brindley Sherratt (Gremin) and Mark Wilde (Triquet) take full advantage of their brief spells in the spotlight.”
" Mark Wilde's gentle Monsieur Triquet, the life and soul of a doomed party, is sincere rather than creepy."
What’s On Stage
Alfredo: La traviata / Birmingham Opera Company
“Mark Wilde’s Alfredo was exemplary.”
Stainer The Crucifixion
The Choir of St Marylebone Parish Church / Gavin Roberts
Herald CD HAVPCD 399