Mezzo-soprano Eve Gigliotti has a voice that been described as “spirited, handsome-toned” (Opera News), with a stage presence that is “strong” and “impassioned” (The Washington Post). Quickly becoming known for her diverse stylistic range, Ms. Gigliotti is an exciting young artist who brings rich, resonant sound and a uniquely individual interpretation to her performances.
This season, Eve Gigliotti joins the Los Angeles Philharmonic for the U.S. premiere of A Trip to the Moon, San Francisco Opera for their production of Wagner’s Ring Cycle, both the Eugene Symphony and the Seattle Symphony for Handel’s Messiah, and appears with Opera Parallèle as the Pilot in The Little Prince. Additionally, she curates and performs in a highly anticipated residency at National Sawdust, entitled Film Stills.
Last season included a debut with Hawaii Opera as Giulietta in Les contes d’Hoffman, the world premiere of composer Mohammed Fairouz’s new oratorio, Al-Quds: Jerusalem at the Metropolitan Museum, a return to Opera Philadelphia to create the role of Dodo in the world premiere of Missy Mazzoli’s Breaking the Waves, a role she reprised with the Prototype Festival, and she joined the roster of the Lyric Opera of Chicago to cover the title role in Carmen.
In the 2015-2016 season, Ms. Gigliotti made her debut with the Washington National Opera, singing Siegrune and covering Flosshilde and the Second Norn in their production of Wagner’s Ring Cycle. She also appeared with Beth Morrison Projects for the premiere of Persona. She also joined the Princeton Festival for their 2016 Summer season to sing Auntie in Peter Grimes.
The 2014-2015 season brought significant company debuts for Ms. Gigliotti, including Houston Grand Opera to sing Siegrune in Die Walküre; Milwaukee Symphony, for Handel’s Messiah, and Opera Santa Barbara to reprise the title role of Isabella in L’italiana in Algeri. Additionally, she debuted the role of Bradamante in director R.B Schlather’s gallery installation of Alcina in association with Whitebox Art Center, and concluded the season in her role debut as Suzuki in Madama Butterfly at Ash Lawn Opera.
Engagements during the 2013-14 season included appearances with Minnesota Opera, as Nazimova in Dream of Valentino, Florentine Opera, as Cornelia in Giulio Cesare, and Boston’s Odyssey Opera, as the title role in Mascagni’s rarely performed Zanetto. She also joined the Harvard-Radcliffe Orchestra for Verdi’s Requiem.
After her promising debut with the Metropolitan Opera as Mercedes in the Richard Eyre production of Carmen, Ms. Gigliotti returned in 2010-2011 reprising the role of Mercedes and appearing as Siegrune in Robert Lepage’s milestone production of Die Walküre, led by James Levine, broadcast worldwide in HD. Ms. Gigliotti appeared as Siegrune in the Metropolitan Opera’s production of The Ring Cycle as part of the 2012/13 season. Additional performances during the 2012-13 season included the title role in an updated version of L’italiana in Algeri with Wendy Taucher Dance Theater Opera Project in Martha’s Vineyard, reprising a role she has performed with Opera Southwest and Bilbao ABAO (Opera Berri Performance). On the concert stage, Ms. Gigliotti was seen with Carolina Chamber Music Festival, and Wolf Trap Opera in Recital, respectively. In recording, the recently released Opera America Songbook features Ms. Gigliotti performing “Archaeology,” a song written exclusively for her by acclaimed composer/librettist team David Little and Royce Vavrek.
Having won critical acclaim for her emotional portrayal as Ruth in the World Premiere of Nico Muhly’s Dark Sisters, produced by Gotham Chamber Opera, Music Theater Group, and Opera Philadelphia, directed by Rebecca Taichman and conducted by Neal Goren, Ms. Gigliotti has garnered attention for her interpretation within the new American repertoire. Ms. Gigliotti was invited by Houston Grand Opera (East + West Festival) to originate the role of Mrs. Parvin in composer Gregory Spears’s, The Bricklayer. Other highlights of the 2011-12 season included appearing with the Metropolitan Opera as Siegrune in Die Walküre under the baton of Fabio Luisi; making her Carnegie Hall debut in Bernstein’s Jeremiah Symphony no.1 with New York Youth Symphony, Ryan McAdams conducting; and returning to Carnegie Hall in portraying the title role of Djamileh with American Symphony Orchestra, Leon Botstein conducting. Ms. Gigliotti’s concert work during the season included Chanson Madècasses with Gotham Chamber Opera; and Stravinsky: Pairings (a performance of Berg’s Seven Early Songs and Debussy’s Chansons de Bilitis) with Greenwich Music Festival.
Other past season highlights include in 2010-2011: Verdi’s Requiem with Baltimore Symphony Orchestra, Marin Alsop conducting; title role in L’italiana in Algeri with ABAO Opera Bilbao (Opera Berri Performance), Michele Mariotti conducting; Wolf Trap Opera as Giulietta in Les Contes d’Hoffmann.
In addition to making her Metropolitan Opera debut in 2009-2010, Ms. Gigliotti made her Avery Fisher Hall debut with American Symphony Orchestra in Scenes from Goethe’s Faust by Schumann, and appeared with Oregon Symphony in Rossini’s Stabat Mater.
Eve Gigliotti is a graduate of The Manhattan School of Music, Mannes The New School for Music and The Curtis Institute of Music.
Hawaii Opera Theatre – The Tales of Hoffmann
Eve Gigliotti is also excellent as the manipulative courtesan Giullietta in the final act.”
Steven Mark, Honolulu Star Advertiser
Princeton Festival – Peter Grimes
Totally admirable in this regard was Eve Gigliotti’s Auntie, as clear in diction and in theatrical intention as a good Broadway actress, with a striking, personal mezzo timbre.”
David Shengold, Opera News
Whitebox Art Center – Alcina
As Bradamante, who travels to rescue her lover from Alcina’s clutches, the mezzo Eve Gigliotti, her voice powerful and agile, was comically yet movingly torn between her mission and her desires.”
Zachary Woolfe, New York Times
The Metropolitan Opera – Carmen
Eve Gigliotti made a promising debut as Mercedes, her sensuous mezzo a good match for Elizabeth Caballero’s Frasquita…”
David Shengold, Gay City News
As Brian Kellow has noted in these pages, companies now tend to cast the comprimario parts that provide dramatic texture (once rightly entrusted to experienced veterans immersed in the style) to members of young-artist programs. At the Met, the current plan seems to be to fill the roster with the most telegenic young singers America’s conservatories and regional companies can provide. Casting departments and credulous arts editors take note: the most satisfying supporting work came from the least gym-toned participants — debutant Malcolm MacKenzie’s very solidly voiced Dancaire and Eve Gigliotti’s spirited, handsome-toned Mercédès.”
David Shengold, Opera News
Gotham Chamber Opera – Dark Sisters
The cast includes the appealing mezzo-soprano Eve Gigliotti as the fragile Ruth, whose mental instability is conveyed in an early scene through fractured vocal phrases and skittish orchestra riffs.”
Anthony Tommasini, The New York Times
A counterpoint to [Eliza’s] journey is the sad story of Ruth, movingly sung by mezzo-soprano Eve Gigliotti.”
Mike Silverman, Associated Press
Opera Southwest – L’italiana in Algeri
Mezzo-soprano Eve Gigliotti is a superb Italiana both in voice and character, at once beguiling and conniving. Her dark-hued tones, given devilishly difficult passages throughout, are most convincing in “Pensa alla patria” as she rallies her countrymen in a call to arms in duty to the “red, white and green.”
D.S. Crafts, Albuquerque Journal
Avery Fisher Hall – Scenes from Goethe’s Faust with American Symphony Orchestra
There was still more to love among the remaining soloists, including the rich and resonant mezzo Eve Gigliotti.”
Olivia Giovetti, Time Out NY
Portland Symphony – Rossini Stabat Mater
Eve Gigliotti was lustrous and dark-hued, both in the somber solo Cavatina and in her expressive duet with Wager.”
James McQuillen, The Oregonian
Soprano soloist Amber Wagner sang with passion, as did mezzo soprano Eve Gigliotti. Their duet “Quis est homo” (“Who is the man”) was like a bouquet in full bloom and their arias were exceptional.”
James Bash, Oregon Music News
Glimmerglass Opera – The Consul
Eve Gigliotti, always focused and in character, made a big impression in the small role of Vera Boronel.”
Joanne Sydney Lessner, Opera News
Other Young Artists who bear mention include Eve Gigliotti, a rich-voiced Vera Boronel”
George Briscot, Operaticus
As the visa seeker[s], mezzo-soprano Eve Gigliotti as Vera Boronel (she almosts breaks down for joy when she finally receives a visa) did fine work.”
Wayne Myers, Examiner.com
…mezzo Eve Gigliotti (Vera Boronel) were standout[s] as visa seekers.”
Heidi Waleson, The Wall Street Journal
[Leah Wool’s] duet with the radiant Young American Artist Eve Gigliotti, as visa recipient Vera Boronel, was a highlight, their voices blending gorgeously.”
William Madison, Billevesées.com
Bilbao ABAO – L’italiana in Algeri
The American mezzo soprano Eve Gigliotti showed a pleasant voice and good musicality as Isabella…”
José M Irurzun, Seen and Heard International
Baltimore Symphony Orchestra – Verdi Requiem
Eve Gigliotti used her creamy, resonant mezzo in compelling fashion throughout; she blended poignantly with Meade in the “Agnus Dei.” Could Gigliotti be the next great Verdian mezzo? I might take that bet, too.”
Tim Smith, Baltimore Sun.com
Of the other three soloists, mezzo-soprano Eve Gigliotti was the best, with a robust, smooth voice…”
Charles T. Downey, The Washingtonian
Wolf Trap Opera – The Tales of Hoffman
Eve Gigliotti was a strong, impassioned Giulietta.”
Anne Midgette, The Washington Post
Eve Gigliotti was near perfect with her burnished soprano seeming the very embodiment of Hoffmann’s scheming character.”
Terry Ponick, The Washington Times
Eve Gigliotti sang ardently as Giulietta”
Tim Smith, The Baltimore Sun
Eve Gigliotti made for a noteworthy Guilietta, as she is perhaps the most lyrical singer I’ve heard in the role. At times, her acting bordered on the demonic. She clearly seemed to relish Hoffmann’s pain, which only turned to sorrow after Hoffmann killed her beloved companion, Pitichinaccio.”
Gregory Moomjy, Opera Today
American Symphony Orchestra – Djamileh
Eve Gigliotti, looking very much the exotic beauty as Djamileh, used her generous, rich mezzo timbre to bring resonance to the faux-arabepassages in her part and to float her Romantic yearnings most attractively. The best known of the few recordings of this work has the coloratura soprano Lucia Popp in this role, who as wonderful as she was, produced a bright sound (although with a rich lower register) quite unlike the more umbrageous tones necessary to bring out the emotional warmth and sheer sexiness of this smaller, benign sister to Carmen—which Ms. Gigliotti carried off to perfection. All three singers once again showed Leon Botstein’s astuteness in vocal casting.”
Michael Miller, New York Arts
The mezzo-soprano Eve Gigliotti affectingly conveyed Djamileh’s vulnerability and resolve.”
Steve Smith, The New York Times
|Argento||Alla Nazimova||Dream of Valentino|
|Britten||Lucretia||The Rape of Lucretia|
|Offenbach||Giulietta||The Tales of Hoffman|
|Poulenc||Mother Marie||Les dialogues des Carmelites|
|Rossini||Isabella||L’italiana in Algeri|
|Strauss, R.||Octavian||Der Rosenkavalier|
|Stravinsky||Baba the Turk||The Rake’s Progress|
|Bernstein||Symphony #1 “Jeremiah”|
|Britten||Canticle II: Abraham & Isaac|
|Ravel||Trois Chansons Madécasses|