Donald E. Osborne,  Director California Artists Management 564 Market Street, Suite 420, San Francisco, CA  94104-5412 415 362-2787 / fax: 415 362-2838 / Skype: calartistsdon  / Email

Susan Endrizzi Morris,  Director California Artists Management P.O. Box  2479, Mendocino, CA  95460-2479 707-937-4787 / cell: 415-302-1083 / Skype: sueendrizzi / Email

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Christina Wilcox mezzo-soprano (Updated July 2010 – please discard any previous versions)

Mezzo-soprano Christina Wilcox has earned a remarkable reputation for her “warm, noble and thrilling” voice.  Equally at home in opera and on the concert stage, she is perhaps best known for her work with symphony orchestras.

Ms. Wilcox has performed with many leading orchestras of the United States including the New York Philharmonic, National Symphony Orchestra, San Francisco Symphony, Seattle Symphony, Houston Symphony and the Buffalo Philharmonic.  She has also appeared with the Rhode Island Philharmonic, Florida Orchestra, Birmingham Symphony, Tulsa Philharmonic, Kansas City Symphony, Wichita Symphony and the Los Angeles Mozart Orchestra.  She sings with many esteemed conductors including Erich Leinsdorf, Zdenek Macal, Gerard Schwarz, Richard Bradshaw, JoAnn Falletta, David Lockington, Jahja Ling, Robert Spano, Zuohuang Chen and Norman Scribner.

A frequent collaborator with conductor Maximiano Valdes, Ms. Wilcox performances have been at Chicago’s Grant Park Concerts, the Buffalo Philharmonic, Seattle Opera, and the Orquestra del Principado de Asturias in Spain.  Her Buffalo Philharmonic debut under Mo. Valdes was in the Verdi Requiem. She returned to sing Mahler’s Das Lied von der Erde and Handel’s Messiah under JoAnn Falletta and Verdi’s Requiem under David Lockington.  Her frequent performances with conductor Dennis Keene include Bach’s B Minor Mass and St. Matthew Passion and Rossini's Petit Messe Solennelle at the Caramoor Festival, the Keenefest, and with the Voices of Ascension in New York City.

Miss Wilcox made her Seattle Symphony debut in 1993 in Handel’s Messiah under Gerard Schwarz, her National Symphony Orchestra debut in 1997 with Zdenek Macal conducting the Verdi Requiem at Wolf Trap, and her Houston Symphony debut in 1999 in the Messiah.  She recently debuted with the Brooklyn Philharmonic under Robert Spano in a semi-staged production of John Adams’ The Death of Klinghoffer, with the San Francisco Symphony in Bach’s B Minor Mass.  Other appearances have been with the Santa Rosa Symphony in Handel’s Messiah, New West Symphony with Boris Brott conducting Prokofiev’s Alexander Nevsky, the Jacksonville Symphony and the Duke Chapel Choir in Durham, NC singing Verdi’s Requiem, the Apollo Chorus of Chicago in the title role of Handel’s Solomon, and Beethoven’s Symphony No. 9 at Walt Disney Concert Hall. Recent highlights include Bach with the Santa Barbara Chamber Orchestra, Oscar van Pander’s The Symphony of a Woman's Life at the Goethe Institute, and a star-studded benefit for the Napa Valley Youth Orchestra.

Christina Wilcox made her professional opera debut as the Mother in Hansel and Gretel with New York City Opera. She returned the following season for the premiere of Robert Dennis’ East of the Sun, West of the Moon.  Other notable opera debuts include Fortuna in L’Incoronazione di Poppea conducted by Patrick Summers and directed by Bliss Hebert at Dallas Opera, and as Siebel in Faust under Mo. Valdes, directed by Bernard Uzan in Seattle.  The mezzo sang the Mother in Menotti’s production of Amahl and the Night Visitors at Lincoln Center and Dorabella in Mozart’s Cosi fan tutte for both the Liederkranz Society of New York and for Opera on the Sound on Long Island.  Selected for the London Opera Center, she performed in Cavalli’s La Calisto and sang Rosina in Il Barbiere di Siviglia.

 Ms. Wilcox has soloed at Carnegie Hall with Musica Sacra and the Canterbury Choral Society, and made her Kennedy Center debut in Mahler’s Symphony No. 8 with Norman Scribner and the Choral Arts Society of Washington.  She frequently performs with the Greenwich Choral Society and has sung with the Los Angeles Master Chorale and the Berkshire Choral Festival.

Press Comments:

Alexander Nevsky with the New West Symphony, Boris Brott, conductor:

“The orchestra featured mezzo-soprano Christina Wilcox, who intoned the ‘Field of the Dead,’ the haunting sixth movement in which a woman seeks her betrothed among the dead and wounded.  The electrifying presentation made this an event to remember.”

                                                                                                                 The Acorn – May 31, 2007

"Adding the warm voice of Christina Wilcox, the orchestra focused on Prokofiev's 'Alexander Nevsky'. A moment of poignant anguish, was portrayed in 'The Field of the Dead' with limpid beauty by mezzo Wilcox, brought a thoughtful repose."                                                                  Ventura County Star - May 22, 2007

Mendelsson’s “Elijah” with the National Philharmonic at Strathmore Hall:

“The vocal soloists were a well-chosen lot.  Mezzo Christina Wilcox lent character and gravity to her part.”                                                                                                         Washington Post – April 9, 2007

“Christina Wilcox, mezzosoprano, looked and sounded beautiful with a relaxed and easy flowing sound.”                                                                                                          Brooklyn View – May 14, 2007

Bach B Minor Mass with the Santa Barbara Chamber Orchestra:

“Wilcox was especially moving in the ‘Agnus Dei,’ a dose of luscious solemnity just before the gracefully arching, culminating catharsis of the finale brought the work to its uplifting end.”

                                                                                   Santa Barbara Independent – March 15, 2007

Verdi “Requiem” with the Duke Chapel Choir (Durham, NC) and the Jacksonville Symphony:

“With so much going on, it’s important to find four soloists who can both hold their own on solo lines and work with the larger ensemble. Major points to soprano Indra Thomas and mezzo-soprano Christina Wilcox for accomplishing both tasks, notably in their Recordare duet. Their pairing was one of the most sublime efforts of the evening.”

                                                                                                Florida Times-Union - April 23, 2005

“The four soloists in solo sections and ensemble portions of the Requiem, provided thrilling moments throughout the performance. One of the memorable highlights occurs leading up to the mezzo-soprano – ‘Judex ergo cum sedebit.’ It is only three or four measures, but it is like a bright beam of light streaming straight out of heaven, and it hovers in my mind as a ray of promise and hope. Then there was the tender and beautiful ‘Recordare,’ allowing Pearce and Wilcox to warm our hearts. The soloists blended well in the ensemble passages, and each projected with some of the finest diction I can recall.”

                                                                            Classical Voice of North Carolina - April 17, 2005

Bach B Minor Mass, San Francisco Symphony:

“At the Agnus Dei, when Wilcox began to get her voice into it and sing into the ends of the phrases, a good quality and sense of conviction emerged.”                                                             SFCV.org - May 4, 2004

The Ventura Chamber Music Festival, Colorado String Quartet:

“Opening the concert, soprano Christina Wilcox joined the quartet for two Mozart arias, “Vado, ma dove?” and “Chi sa, chi sa quai sia” sung with a clean machined classical decorum.  She also complemented the lithe and melancholic loveliness of Barber’s setting of Matthew Arnold’s post-World War I poem “Dover Beach” whose anti-war, pro-love message had a poignant timeliness.”                      Los Angeles Times – May 6, 2003

Mendelssohn’s Elijah, Caramoor Festival:
“The soloists showed their strengths in their defining arias – Christina Wilcox in ‘O rest in the Lord’.”     Journal News – August 6, 2002

Mahler Symphony No. 8, Choral Arts Society, Washington, DC:
“The best contributions cam from mezzo-soprano Christina Wilcox, who has a pleasingly serrated edge to her voice.”                                                                                               Washington Post – November 7, 2000

Soloist, Pasadena Pops, Rachael Worby, conductor:

“Christina Wilcox sang movingly.”                                       Los Angeles Times – August 28, 2000

Mahler’s Symphony No. 2, Wichita Symphony. Zuohuang Chen, conductor:
“Mezzo Christina Wilcox sang with a dark sound and pious weight as the ‘Urlicht’ movement led into the stormy finale.”                                                                                               Wichita Eagle – April 16, 2000

Verdi Requiem, Tulsa Philharmonic, Kenneth Jean, conductor:
Headline: “Great Verdi Concert”

“Wilcox's performance of the aria-like ‘Liber scriptus’ was quite excellent.”

                                                                                                            Tulsa World - March 29, 1999

Siebel in Gounod’s Faust, Seattle Opera, Maximiano Valdes, conductor:

“Christina Wilcox’s Siebel had more character than usual.”                   Opera News – March 1999

“Christina Wilcox was an engaging Siebel, both tender and earnest.”

                                                                                    Seattle Post Intelligencer – October 19, 1998

“Another vocal standout was Christina Wilcox, whose sturdy, boyish Siebel made her a real asset.”          Tacoma News Tribune – October 24, 1998

Handel’s Messiah, Buffalo Philharmonic, JoAnn Faletta, conductor:

“The extremely expressive singing of Christina Wilcox makes buying a ticket worthwhile all by itself.  Wilcox creamy but well focused mezzo was captivating in ‘But Who May Abide,’ while she unleashed superb melismatic control in the ‘Refiner’s fire’ episode and soared impressively in hr upper register at the conclusion.”        Buffalo News – December 21, 1997

Beethoven Missa Solemnis, Los Angeles Master Chorale:

“Mezzo-soprano Christina Wilcox – capable of beautiful solo singing.”

                                                                                              Los Angeles Times – October 27, 1997

Verdi Requiem, National Symphony Orchestra, Zdenek Macal, conductor:
“Mezzo-soprano Christina Wilcox for here eloquent, caressing warmth and beautiful legato, particularly in the deeply moving ‘Lacrymosa dies illa’.”                                                   Washington Post – August 4, 1997

Verdi Requiem, Wichita Symphony Orchestra, Zouhuang Chen, conductor:
“Wilcox made special artistry of her solo moments, with a voice of such force, focus and care that I found myself wishing I could see her in a staged Verdi opera.”

                                                                                                          Wichita Eagle – April 14, 1996