“Zachary Wilder is known as an Aston Martin of singing: nothing is as precious as his technical precision except the curve of his musical gesture. Mischievousness, virtuoso, overflowing with wit and skill, his singing leaves you amazed.”

—Camille de Rijk, La Libre

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“But my attention returned again and again to the tenors in ‘Duo Seraphim’, Emiliano Gonzalez Toro, Zachary Wilder and Antonin Rondepierre, who boast a fine trillo. There are so many thoughtful touches where this trio are concerned: listen in particular for the treatment of ‘Et hi tres unum sunt’ (‘and these three are one’). Speaking of vocal ornaments, there is a superb inflection from Wilder in ‘Audi coelum’.”

—Edward Breen, Gramophone

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“The singings is superbly effective dramatically and musically, as each character moves between love and anger, sweetness and violence. Tenor Zachary Wilder’s attractive, tangy top notes and ardent delivery move from amorous delicacy to bold heroism, and he is particularly slimy in Lidio’s glib rejection of Climene.”

— Judith Malafronte, Opera News

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“Zachary Wilder takes on Telemaco with an incredible class. His duo with Ulysses in act II is one of the high points of this recording.”

—Frederic Degroote, Diapason

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“Monday’s night owls were treated to the imagination of Zachary Wilder, who maybe couldn’t have designed a better program to show off his wondrous baroque tenor voice. A memorable hour of northern Italian lovers’ laments was spent with Wilder and Josep Maria Martí Duran, who accompanied the singer and performed foot-stomping instrumental showpieces on the baroque guitar and the throaty-sounding long-necked archlute.“How many of you know Monteverdi’s” ‘Lamento della ninfa?’ ” Wilder asked the audience at one point, then launching into a tune by Antonio Brunelli with the same lyrics as the famous lament but a much jauntier melody, provoking bursts of conspiratorial giggles every time he bounced through the chorus.”

—Zoë Madonna, Boston Globe

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In just a few years, American tenor Zachary Wilder has made a name for himself in the Baroque world, thanks to a voice that's both virile and youthful, a full- bodied timbre with a delicate vibrato, and, above all, an intelligent blend of delicacy and ardor. A particularly rapid vocalization was another decisive asset in opening the doors of the Aix Festival to him, and in taking him on board Gardiner's Monteverdi odyssey last year.

—Denis Morier, Diapason

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"Following the chain of tenors, we must stop secondly at the American Zachary Wilder, one of the male singers who moves with greater solidity and comfort in the language of the Seicento. He embodied an exquisite Telemaco - son of Ulisse and Penelope - full of elegance, with a warm timbre, well-profiled in the treble, round in the middle range and not open on the way up, with a wide range of projection. Excellent handling of the chest and head registers, between which he moves with absolute gracefulness. Expressive on stage, he adapted his gestures in a very natural way, without overloading the role, his presence in the last two acts -especially brilliant, together with Gonzalez Toro, in the father/son duet of Act II ["O padre sospirato!/ O figlio desiato!"]-. Devoid of superfluous artifice, if anything stands out in Wilder's singing, it is his superb capacity for ornamentation, with as much finesse and refinement as it is hardly possible to hear from any other tenor in these repertoires.”

—Mario Guada, Codalario

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“Her lover is Agenore, a friend of Alexander the Great, sung by Zachary Wilder... This tenor, velvety and commanding, does not cause one to genuflect, but simply to melt away”

—Heidemarie Klabacher, Drehpunktkultur