Mezzo-soprano Eve Gigliotti has a voice that been described as “powerful and agile” (New York Times), and is an “invisive actress” (Opera News).

During the 2021-2022 season, she returns to The Metropolitan Opera to perform a variety of roles, singing Mother Goose in The Rake’s Progress, 2nd Serving woman in Elektra, Giovanna in Rigoletto, and the Nurse in Boris Godunov. Her cover assignments include Gertrude in Brett Dean’s Hamlet, Madame de la Haltière in Cinderella, and Magdalene in Die Meistersinger. Eve is involved as creative producer and performer in various works in development including ‘Untitled: Inspired by Film Stills’ with National Sawdust and “No One Is Forgotten’ an operatic adaptation of the play by Winter Miller.

For the COVID-19 impacted 2020-2021 season, her planned engagements included a return to the Metropolitan Opera, performing Gertrude in Romeo et Juliette, Annina in La traviata, Mother Superior in The Fiery Angel, and Mercedes in Carmen, while covering Mrs. DeRocher in Dead Man Walking, Amneris in Aida, and Brangäne in Tristan und Isolde (all cancelled due to the pandemic). She was also slated to make her Opera Maine debut as Mary in The Flying Dutchman (cancelled), and sang multiple roles in White Snake Projects’ technologically-immersive Alice in the Pandemic. 

Ms. Gigliotti’s original engagements during the COVID-19 shortened 2019-2020 season included her return to San Francisco Opera as Gertrude in Roméo et Juliette (performed), Gertrude in Hamlet with Washington Concert Opera (performed), Glasha in Kat’a Kabanova in a return to the Metropolitan Opera (cancelled), and the Alto soloist in Messiah with the Detroit Symphony Orchestra and Pittsburgh Symphony (performed). She also sang Elgar’s The Kingdom at Carnegie Hall with the American Symphony Orchestra, and at National Sawdust she continued development of the highly anticipated ‘Untitled: Inspired by Film Stills’; an immersive chamber opera featuring composers Muhly, Mazzoli, Prestini, and Reid with libretto by Vavrek and directed by R.B. Schlather.  Original concept by Ms. Gigliotti who also serves as Creative Producer and Performer.

In the 2018-2019 season, Eve Gigliotti returned to the Metropolitan Opera as Siegrune in Die Walküre, reprised The Pilot in The Little Prince with Opera Parallèle, joined New York’s Prototype Festival as Aunt in Mila, Great Sorcerer, and returned to the Seattle Symphony for Beethoven’s 9th Symphony. Additionally, she appeared with the Bard College Conservatory Orchestra for performances of Mahler’s Third Symphony, conducted by Leon Botstein, and made her Tanglewood Music Center debut as Siegrune in Die Walküre.

During the 2017-2018 season, Ms. Gilgiotti joined 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 Opera Parallèle as the Pilot in The Little Prince.

 The previous 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.

White Snake Projects – Alice in the Pandemic

Eve Gigliotti sang with a robust mezzo and was especially compelling in her hospital bed lullaby and the final duet with Alice.”
Joanne Sydney Lessner, Opera News
“In a smattering of roles, Eve Gigliotti creates an intimacy that somehow exudes through the white walls of her physical space and seems to enclose about the isolated viewers. To the dangerously stern “grown up” characters, she lends a flawed humanity that drips heavily from the voices of Alice’s mother and grandmother but lingers in the corners of her mouth as the severe Queen of Hearts.”
Andrew Child, Broadway World Review
“Carami Hilaire (Alice) and Eve Gigliotti (Alice’s mother was just one of the five characters that she brought to life) have powerful voices that seethed with intensity but could capture the most tender of emotions.”
Rick Perdian, Scene and Heard International

Opera Parallèle – The Little Prince

Mezzo-soprano Eve Gigliotti delivered a vocally robust and emotionally fearless performance as the Aviator, the analog for Saint-Exupéry’s unnamed autobiographical narrator. Sharing the stage with a talented youngster is no artist’s idea of fun, but she made it look easy.”

Joshua Kosman, San Francisco Chronicle

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,

…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, Billevesé

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

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