Moore of Moore Hall: The Dragon of Wantley / Resonus Classics 2022
“Mark Wilde’s drunken hero exudes boozy tenorial charm.”
Opera
Moore of Moore Hall / Resonus Classics 2022
“Mark Wilde delivers the cod-heroics of ‘Dragon, to atoms I’ll tear thee’ (shades of Acis’s ‘Love sounds the alarm’ here) with just the right amount of tongue-in-cheek braggadocio.”
Presto Music
Monsieur: The Dancing Master / Buxton International Festival
“Catherine Carby (Prue), Fiona Kimm (Miranda’s aunt) and Mark Wilde (Monsieur) are all experienced actor-singers who bring distinction as well as humour to their performances.”
The Arts Desk
“Mark Wilde cleverly wraps his French tongue around the coloratura parody of his show-off aria…”
British Theatre Guide
“Mark Wilde — as a spivvy, moustachioed comedian playing a Frenchman (or as Wycherley puts it, ‘a whimsical, gibbering snail-eater’) with all the ’Allo’ Allo! subtlety of old-school rep — comes close to bringing the house down.”
The Spectator
“…unstinting as Monsieur.”
The Telegraph
Monsieur: The Dancing Master / Resonus Classics
“Mark Wilde, as Monsieur, is little short of heroic in his ability to maintain a lyrical line while delivering Franglais straight out of ’Allo ’Allo.”
Gramophone
“A lively cast – Eleanor Dennis, Catherine Carby, Fiona Kimm, Ed Lyon, Mark Wilde, Graeme Broadbent – enunciate every word crisply.”
The Guardian
“…a superbly characterful Mark Wilde.”
MusicWeb International
“…Mark Wilde has great fun with her foppish son.”
Opera News
“Fiona Kimm, Mark Wilde and Graeme Broadbent are characterful as comic elders.”
The Sunday Times
“Catherine Carby, Fiona Kimm, Mark Wilde and Graeme Broadbent have great fun in supporting roles.”
The Telegraph
St John Passion / Irish Chamber Orchestra
“Mark Wilde’s tortured remorse generates its own intensity.”
Irish Independent
Albert Herring / English Touring Opera
“Mark Wilde, as Albert, was stunning – genuinely funny and touching by turns, especially in his long scena…”
Classical Source
“Mark Wilde’s strongly sung Albert gets the balance between innocence and anger just right….”
The Guardian
“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.”
The Stage
Johnny Inkslinger: Paul Bunyan / English Touring Opera
“…lyrically sung by Mark Wilde.”
Financial Times
“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…
The Guardian
“From a vocal point of view, Mark Wilde as the bookish Johnny Inkslinger stands out.”
The Telegraph
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.:
Classic FM
“Wilde takes his time and uses his pliable voice to play with light and shade in atmospheric performances.”
Gramophone
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.”
Classical Source
“…bearded and in drag, Mark Wilde is splendid as (Hipermestra’s) cynical nurse, Berenice, who provides the much needed moments of knockabout humour.”
The Guardian
“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. “
The Independent
“…a delightfully camp and bearded Mark Wilde…”
Mark Ronan Theatre Reviews
“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.”
Music OMH
“…with Mark Wilde contributing nice, hip-swivelling humour in the standard nurse-hag role of Berenice.”
The Observer
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.”
Gramophone
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…”
The Telegraph
Iro: Il ritorno d’Ulisse / Pinchgut Opera
“Mark Wilde delivered an engaging comic turn as the gluttonous Irus…”
The Australian
“Mark Wilde harnessed a great variety of tessitura and dynamic in the service of his almost Pythonesque realisation of the comic character Iro, which is a sort of combination of Bacchus and Falstaff.”
Australian Stage
“Mark Wilde displayed ample comic timing as Iro, revealing a seemingly endless palette of vocal colour in his long monologue.”
Limelight
“Greasy Iro (a parasite) was vividly carried by tenor Mark Wilde, a windbag and buffoon who particularly provided a foil for moments of immense sharp intensity.”
Performing Arts Hub
“Mark Wilde does the comic character of Iro with politically incorrect panache, maintainin the vocal finish for the style while pushing the edge of the sound just enough into character voice to create variety.”
Sydney Morning Herald
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.”
Classical Source
“Mark Wilde paints a convincing portrait of a nerdy young Emperor who may not be as naïve as he looks.”
The Telegraph
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.”
Music OMH
“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.”
Opera News
“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…”
The Telegraph
Don Basilio: The Marriage of Figaro / English Touring Opera
“Mark Wilde was a deliciously preening Don Basilio.”
Classical Source
Idamante: Idomeneo / Birmingham Opera Company
“Mark Wilde made a vibrant Idamante.”
Birmingham Post
Idomeneo / Blackheath Halls Opera
“Mark Wilde’s true, lyric tenor was touching in Idomeneo’s reflective moments. And he squared up bravely to the impossible demands of ‘Fuor del mar.’”
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 Stage
“The youthful leads were all enjoyable: Mark Wilde as a lyrical, scrupulously stylish Tamino.”
The Times
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
Songs & Sonnets / EM Records
“…Mark Wilde brings disarming freshness, intelligence and agility to this rewarding repertoire.”
Gramophone
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.”
Gramophone
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.”
Gramophone
M. Triquet: Eugene Onegin / Garsington Opera at Wormsley
“Mark Wilde was an affecting half-sad, half-comic Triquet…”
Classical Source
“Mark Wilde’s Triquet was one of the best we’ve heard, his acting as splendidly oleaginous as his singing was mellifluous…”
Music OMH
“…as opposed to the camp stereotype too often trotted out, Mark Wilde created a charming cameo as Monsieur Triquet.”
Opera News
“…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)…”
The Spectator
“All of the secondary roles go well, with Mark Wilde offering sensitivity and charm in his cameo appearance as Monsieur Triquet.”
The Stage
“Mark Wilde’s uncaricatured Monsieur Triquet rounds off an exceptional cast…”
Sunday Times
“Brindley Sherratt (Gremin) and Mark Wilde (Triquet) take full advantage of their brief spells in the spotlight.”
The Telegraph
” Mark Wilde’s gentle Monsieur Triquet, the life and soul of a doomed party, is sincere rather than creepy.”
What’s On Stage
Verdi: Requiem / Deutsche Philharmonie Merck
“Mark Wilde is a tenor of operatic timbre, but who sings with musicianship.”
Allgemeine Zeitung
Alfredo: La traviata / Birmingham Opera Company
“Mark Wilde’s Alfredo was exemplary.”
The Observer
