Described as ‘flawless … heartfelt … heavenly’ (Early Music America), ‘heartstopping’ (The Guardian), and ‘one of the best young singers in the Renaissance game’ (The Independent), Clare Wilkinson makes music with Baroque orchestras, consorts of viols, and vocal consorts – and loves them all. Particularly noted for her interpretations of Bach, Clare has been alto soloist in all his major works with Sir John Eliot Gardiner, particular highlights being Cantata No. 170 at the Spiegelsaal, Köthen and the St Matthew Passion at the Thomaskirche, Leipzig. Her recordings of Bach’s music include Welt, gute Nacht (Gardiner), the St John and St Matthew Passions (Butt), the St Mark Passion (Willens) and Trauer-Music (Parrott – Gramophone Critics’ Choice).
Other recent collaborations have been with Jos van Veldhoven (NBS), Adàm Fischer (SCO), Bart Van Reyn (Le Concert d’Anvers), Gijs Leenaers (Concertgebouw Chamber Orchestra), Mats Bertilsson (Drottningholm Baroque) and Philip Pickett (Odense Symphony Orchestra). Clare also enjoys stage work – Venere in Monteverdi’s Ballo dell’Ingrate (BBC Proms), Galatea (London Handel Festival) and I Fagiolini’s ‘secret theatre’ project The Full Monteverdi. Equally at home with viols, Clare is a regular guest of the Rose Consort of Viols and of Fretwork, in repertoire from William Byrd to Tan Dun. She has premiered works written for her by John Joubert, Duncan
Druce and Stephen Wilkinson at Wigmore Hall, London. In addition to the Bach discs listed above, Clare’s many recordings include Orfeo (Parrott), the Gramophone Award-winning Messiah (Butt), Four Gentlemen of the
Chapel Royal and Adoramus Te (Rose Consort of Viols), and The Silken Tent (Fretwork), featuring two songs of Byrd never before recorded.