Valda Wilson, a native of Sydney, Australia, has already garnered international attention on the opera and concert stages of her homeland and Europe. She initially trained at the Sydney Conservatorium of Music, where in 2008 she won the Opera Foundation Australia’s scholarship to the National Opera Studio London, where she sang the roles of Manon (Massenet), Micaela, Violetta, Ilia and Susanna. In 2010 she was invited to join the Young Ensemble at the venerable Dresden Semperoper, where she sang a broad spectrum of roles, ranging from Pamina to the title role in Karl Amadeus Hartmann‘s Simplicius Simplicissimus. In 2012 she won the Stella Maris International Vocal Competition, and in that same year became a member of the Young Singers Project at the Salzburger Festspiele, singing Pamina in Zauberflöte für Kinder and covering the role of Pamina in Peter von Winter’s opera Das Labyrinth.
Her 2012/13 season featured numerous important role- and house-debuts that launched her professional career. She made her debut at Teatro di San Carlo in Napoli under the baton of John Fiore as the First Wood Sprite in Dvořák’s Rusalka, sang the title role in Handel’s Rodelinda under the baton of Richard Bonynge at the Sydney City Recital Hall, debuted as Donna Anna with the Sommer-Oper Bamberg and as Rosina with the Verbier Festival, where she also sang in Beethoven’s Fantasy Opus 80 under the baton of Charles Dutoit. In addition, she returned to the Semperoper to sing Papagena and the Third Sister in the world-premiere of Prinz Bussel by Johannes Wulff-Woesten. 2014 saw her Austrian debut with the Oper Klosterneuburg in her signature role of Pamina, as well as a return to the Verbier Festival for her debut as Fiordiligi. In that year she also became a fulltime member of the ensemble at the Oldenburgisches Staatstheater (Germany), where she remained until 2016, adding Alice Ford in Falstaff, Julia de Weert in Künnecke’s Der Vetter aus Dingsda, Romilda in Handel’s Xerxes, Helena in Britten’s A Midsummer Night’s Dream, Mrs. Naidoo in Glass’ Satyagraha, Hanna Glawari in Die lustige Witwe, and Contessa Almaviva in Le nozze di Figaro to her list of triumphant role debuts, culminating in her being awarded the Publikumspreis der Volksbühne Oldenburg (2016). She also returned to Australia in 2016 for guest appearances with the Australian Festival of Chamber Music as the Swallow in Malcom Williamson’s opera The Happy Prince and with the Pinchgut Opera Sydney for the title role in Handel’s Theodora. In 2017 she sang in Chloé Charody’s The Carnival – A Circus Opera in Australia before making her debut as Vitellia with the Theater Ulm (Germany).
Since 2017-18 she is a member of the ensemble of the Saarländisches Staatstheater (Germany), where her roles include Fiordiligi and Musetta. She also made a guest appearance as Iole in Handel’s Hercules at the Nationaltheater Mannheim that season.
A sought-after concert artist, Valda’s recent chamber music collaborations include a program of Fauré and Schubert as part of the Dresden Philharmonic’s Chamber Music Series, programs featuring Haydn and Boccherini with the Auryn Quartet for the festival Musiktage Mondsee in Austria, and Aribert Reimann’s arrangements of Schumann’s Opus 107 and Mendelssohn Bartholdy’s …oder soll es Tod bedeuten? – again with the Auryn Quartet – at the festival Romanischer Sommer Köln, as well as multiple performances as featured soprano with various international ensembles (including the Barrier Reef Orchestra) for the Australian Festival of Chamber Music. Other concert highlights include performances with the Royal Flemish Philharmonic (Liszt’s Gran Mass) and a European tour with the Orchestre des Champs Elysées, both under Philippe Herreweghe, Mahler’s Resurrection Symphony with the Oldenburgischen Staatsorchester, Carmina Burana at Salzburg’s Grosses Festspielhaus, Mendelssohn’s A Midsummer Night’s Dream, concert arias by Mozart with the Hallé Orchestra under Markus Stenz, and Bachianas Brasileiras No.5 with the London Cello Orchestra touring Switzerland and South Korea. In addition, she was chosen by Richard Bonynge to be the only featured soloist at the Westminster Abbey memorial service for Dame Joan Sutherland with the Orchestra of the Royal Opera House Covent Garden, under Sir Antonio Pappano. Most recently, she made her debuts in Beethoven’s 9th Symphony with the Tasmanian Symphony Orchestra under Marko Letonja and in Orff’s Carmina Burana with the Münchner Symphoniker and sang a program of Mahler and Henze with the Sächsische Staatskapelle at the Semperoper Dresden.
In 2018, she will sing Beethoven’s 9th Symphony with the Orchestre Philharmonique de Strasbourg under Marko Letonja, the Stuttgarter Philharmoniker under Marcus Bosch and with the Orchester Cappella Aquileia also under Marcus Bosch, with whom she subsequently will perform in Beethoven’s Die Ruinen von Athen.