Acclaimed for her “silvery soprano, with an effortlessness that thrills her audience,” Rachele Gilmore is consistently praised as “the vocal standout” on both opera stage and in the concert hall. A renowned bel canto singer, her repertoire spans a wide range, including Donizetti, Mozart, Verdi, Strauss, as well as the French and modern composers. She is a regular performer in America, Europe, and Asia and has performed in many of the world’s most prestigious opera houses, including The Metropolitan Opera, Teatro alla Scala, Bayerische Staatsoper, La Monnaie, Grand Théâtre de Geneve, and Festival d’Aix en Provence. She has also regularly appeared with the Los Angeles Philharmonic under the baton of Gustavo Dudamel, as well as the Pittsburgh Symphony Orchestra led by Manfred Honeck. Her signature roles among many, include Lucia in Lucia di Lammermoor, Gilda in Rigoletto, Olympia in Les contes d’Hoffmann, Zerbinetta in Ariadne auf Naxos, Ophélie in Hamlet, as well is Alice in Unsuk Chin’s Alice in Wonderland.
This season, Ms. Gilmore joins the San Francisco Symphony as the soprano soloist for Handel’s Messiah. Additionally, she appears on the concert stage with the Indianapolis Symphony for Mendelssohn’s Elijah, as well as with the Montgomery Symphony. Recently, Ms. Gilmore was seen as Olympia in Les contes d’Hoffmann with Teatro Colón in Buenos Aires, in her role debut as Giulietta in Bellini’s I Capuleti e i Montecchi with Opera San Antonio and as Blondchen in Die Entführung aus dem Serail with Lyric Opera of Kansas City. In concert she returned to the Pittsburgh Symphony, reuniting with Maestro Manfred Honeck for performances of Marzelline in the 1806 version of Beethoven’s Fidelio. Other original engagements during the COVID-19 shortened 2019-2020 season included performances with the Indianapolis Symphony, as the soprano soloist in Mendelssohn’s Elijah conducted by Jun Märkl (postponed to 2022).
During the 2018-2019 season, Rachele joined the Kansas City Symphony for Handel’s Messiah, returned to the Pittsburgh Symphony for Haydn’s Mass in Time of War and Handel’s Messiah, and appeared in concert with Opera Roanoke and Opera Maryland. She also joined the Korean Symphony Orchestra in Seoul for a staged performance of Rigoletto as Gilda.
Recent appearances include reprising her role as Alice Unsuk Chin’s Alice in Wonderland with the Seoul Philharmonic, returning to Opera Omaha in her debut as Nannetta in Falstaff, and triumphing in the title role in Lucia di Lammermoor with Virginia Opera. She debuted the role of Gretel in Hänsel and Gretel with Lyric Opera of Kansas City, and also the role of Marie in La fille du Régiment with Austin Opera. In concert she appeared with the Pittsburgh Symphony for a staged presentation of Haydn’s Creation, as well with the Los Angeles Philharmonic led by Gustavo Dudamel in a special multi-media presentation of the same piece. She has also recently performed in concert with the Dallas Opera, joined the Indianapolis Symphony and the Toledo Symphony with repertoire by Mozart, Duparc, and Mahler, and also sang a concert performance of Ravel’s L’enfant et les sortileges as the Fire, Princess and Nightingale with the Seattle Symphony. Rachele also recently reprised her signature role of Olympia with Hawaii Opera Theater to great acclaim.
Notably, she has performed the role of Ophélie in Hamlet with La Monnaie in Brussels under the baton of Marc Minkowski. She has also sung Blondchen in Die Entführung aus dem Serail with Jérémie Rhorer and Le Cercle de L’Harmonie with Festival d’Aix en Provence and Théâtre des Champs-Élysées in Paris, as well as with the Grand Théatre de Geneve. She has been seen as the Fire and the Nightingale in L’enfant et les sortileges with the Bayerische Staatsoper and the Osaka Philharmonic in Japan, and took part in a special staged production of Chin’s Alice in Wonderland with the LA Philharmonic, led by Susanna Malkki that was later performed at the Barbican with the BBC Symphony Orchestra.
Further notable appearances include the role of Ninetta in La Gazza Ladra and Zerbinetta in Ariadne auf Naxos with the Glimmerglass Festival, Sophie in Der Rosenkavalier with NCPA in Beijing, Amina in La Sonnambula with the Florida Grand Opera, Queen of the Night with Opera Philadelphia, Elvira in I Puritani with Knoxville Opera, Cunegonde in Candide with Portland Opera, and Rosina in Il barbiere di Siviglia with Opéra de Vichy. She has also sung the roles of Sophie in Werther and Zerbinetta in Ariadne auf Naxos with Boston Lyric Opera, and has performed Verdi’s heroine Gilda in Rigoletto with Opera Colorado, Michigan Opera Theater, and Opera Omaha. She has been seen as the title role of Lucia in Lucia di Lammermoor with Opéra de Lille, Virginia Opera, and Knoxville Opera. She has sung her most acclaimed role of Olympia in Les contes d’Hoffmann with the Bayerische Staatsoper, Teatro alla Scala, and possibly most notably in 2009, when Ms. Gilmore made a “show-stopping” [Classical Source] last minute debut with the Metropolitan Opera, in the high flying role to great acclaim.
Rachele is a native of Atlanta, Georgia, and received her Bachelor’s of Music from Indiana University and continued with Graduate studies at Boston University. She was a member the Young Artist Programs of Glimmerglass Opera, Florida Grand Opera and Aspen Music Festival’s Opera Center, and was a winner in Placido Domingo’s Operalia World Opera Contest in Paris.
For inquiries in Europe: Hilbert Artists Management
Virginia Opera – Lucia di Lammermoor
From her very first notes, Gilmore projects more successfully than anyone else in the cast. Exhibiting exquisite control, with dynamic fading and surging, subtle gradations of tone, and pinpoint accuracy, Gilmore seizes the audience’s attention immediately. Offering a nuanced prelude of what’s to come, Gilmore is convincing in her acting as well as her vocals, as she veers off balance, emotionally and tonally, suggesting fragility and instability. She offers glimpses of the heights she will ascend, as well as the rhythmic runs that reflect her mental unmooring.
…The story here, though, is Gilmore. In her acting, one feels her grief and weariness, uncertainty and desperation, as she is overcome by betrayal.
And vocally — especially from the moment she enters the stage during the start of her mad scene, bathed in white light, soaked in blood, her neck hanging loosely as if she has already felt the hangman’s noose — she is mesmerizing. In the vocal part of the season, she delivers the vocal performance of the season. In a word, Gilmore is spectacular and not to be missed.”
Andy Garrigue, Richmond Times-Dispatch
Hawaii Opera Theatre – The Tales of Hoffmann
The stupendous performance of the evening – one that provoked gasps from the audience and a 40-second-long ovation – was delivered by coloratura soprano Rachele Gilmore. Olympia’s aria “Les oiseaux dans la charmille” (“The birds in the arbor”) has become her signature, and Friday’s performance showed why. In a voice pure and penetrating, Gilmore soared above the traditional soprano scale, tossing off runs, trills and swells with impunity. Her acting also was also a tour-de-force, as she batted her eyes in sync with her trills and batted Hoffmann around with her shepherdess’ cane, all the while moving around the stage like a robot.
Anybody who admires performance singing of any kind should experience this performance – alone, it’s worth the price of admission.”
Steven Mark, Honolulu Star Advertiser
Austin Opera – Daughter of the Regiment
A perfect counterpart to Barbera’s peasant lover is soprano Rachele Gilmore as Marie. At times impish, fierce, tender, even goofy, Gilmore brings the regimental daughter to life, an energetic young woman ready for (almost) anything. Her singing is exquisite, particularly when she bids “adieu” to her patron platoon in the moving “Il faut partir,” before being whisked away from a world of epaulettes and men to the restrictive salons of etiquette and a puffy white dress.”
Robi Polgar, The Austin Chronicle
Los Angeles Philharmonic – Alice in Wonderland
Rachele Gilmore, amplified, as were all the singers, negotiated the acrobatic part of Alice gracefully and indefatigably.”Timothy Mangan, Orange County Register
Opera Colorado – Rigoletto
As his ill-fated daughter, Gilmore delivered a silvery soprano, nailing “Caro nome” with an effortlessness that thrilled her audience (who cheered prematurely). Hers is a big voice produced from a small, slender frame — a petite stature that added immeasurably to her gentle, sympathetic characterization.Marc Shugold, Opera News
Opera de Lille – Lucia di Lammermoor
Rachele Gilmore magnificently interprets the beautiful Lucia. Between strength and fragility, she plays a young woman with accuracy, oscillating between rage of the woman scorned and manipulated by all these men who play it, the despair of the wounded lover, and the loyalty of the honorable sister… The soprano voice Gilmore is just perfect, from the first act where it has established itself as an excellent Lucia, but especially in the last part: the famous air of madness is a real tour de force, and the public of the Lille Opera House holds its breath with passion before releasing bursts of applause amazed.”
Audrey Chaix, ToutelaCulture.com
Rachele Gilmore’s Lucia was a small, vulnerable figure with a gloriously accurate voice.”
Graeme Feggetter, Opera
Florida Grand Opera – La Sonnambula
This is Amina’s opera and in Rachele Gilmore, a star was made. The sensitivity and absolutely gorgeous sound made this potentially insipid character a sympathetic heroine. The opera’s most famous number, “Ah! No credea mirati” has never sounded as moving and sad; immediately after Gilmore takes us into near musical comedy territory with “Ah! non giunge uman pensiero” offering all the good cheer that Scotto clearly intended. This is a soprano who will be around a long time; someone as accomplished as this is not common, and the world can’t help but notice.”
Jeff Haller, Concerto Net
The star of the performance was the soprano Rachele Gilmore, a former FGO Young Artist from suburban Atlanta who has gone on to roles in the world’s leading opera houses. Dark-haired and petite, she sang with enormous vocal power, depth of feeling and beauty of tone, bringing the complete package to a role that requires both extreme virtuosity and a gift for the melodic long line.
The role of Amina not only requires the soprano to use every trick in the coloratura book, but for the singing to seem effortless, with no sign of strain impeding the flow of melody. Gilmore delivered on both counts, from the unforced high notes of the early aria Sovra il sen la man mi posa to the florid vocal embroidery that followed.[…]
But as impressive as her speed and accuracy were, Gilmore’s greatest moment came not in one of the flashy soprano passages, but in the somber aria Ah! non credea mirarti. For this aria, she knelt in her white gown on the lip of the orchestra pit, spotlighted on the darkened stage, and expressed in heartfelt melody her sadness at the loss of her fiancée Elvino’s love.”
David Fleshier, The Miami Herald
You don’t have to be a musicologist or opera aficionado to recognize the stunning meld of emotion and technique in the artistry of Rachele Gilmore’s performance of the title role in Florida Grand Opera’s production of La Sonnambula.
When she falls to her knees at the front of the stage, picked out of the darkness by a few lights, and pours her heartache out over the orchestra into the audience, the utter silliness of the libretto vanishes and listeners are transfixed by the seamless transmission of heart and head.
Gilmore, who hit an A flat above high C in her debut at the Metropolitan Opera, is more than enough reason for an opera fan to scrape together the considerable cash needed to see this classic tale about a young woman whose impending marriage is sidelined by scandal because of her unconscious habit of sleepwalking.
While her technical virtuosity and vocal pyrotechnics are stunning throughout the sadistically wide range that Vincenzo Bellini wrote into the bel canto score, it is Gilmore’s infusion of passion, ranging from ecstatic joy to bottomless grief, that pushes her performance into another dimension.
Playing the simple country girl Amina, Gilmore exudes an innocence and purity in her singing and personality that seem an impossible fantasy in this century, but which she persuasively sells to back reaches of the
Bill Hirshman, Florida Theater on the Stage
In the role of Amina, soprano Rachele Gilmore is absolutely divine. On top of her supermodel good looks, her high notes are crystal clear, her florid coloratura passages are pitch perfect and her stage presence is unsurpassed. She is an up-and-coming soprano of the highest caliber and is on her way to opera super-stardom. Amina is an excellent role to show off the beauty and power of her voice and the flawlessness of her vocal technique. Her performance of the second act aria “Ah! Non credea mirarti” was tender and touching and her interpretation of the following cabaletta “Ah! Non giunge” had all of the vocal fireworks you could wish for. It was, by far, the best evening of operatic singing that South Florida has witnessed in many years.”
Jack Gardner, Edge, Ft. Lauderdale
Portland Opera – Candide
As Cunegonde, soprano Rachele Gilmore was the standout…her stratospheric display in the big show-stopper, “Glitter and Be Gay,” should have pleased anyone who turned up just to hear it.”
James McQuillen, The Oregonian
As Cunegonde, Rachele Gilmore sang and acted superbly. Her singing of “Glitter and Be Gay,” with some stratospheric high notes thrown in, was a show-stopper.”
James Bash, Oregon Music News
Teatro alla Scala – Les contes d’Hoffmann
As for the cast, all very well: Ramón Vargas, Ildar Abdrazakov, Ekaterina Gubanova, Genia Kühmeier and Veronica Simeoni. The Olympia Rachele Gilmore, however, is exceptional.”
Enrico Girardi, Corriere della Serra
Rachele Gilmore lends a voice to the crystal acrobatic coloratura of Olympia. There are roulades, trills, ascending and descending scales, glissandi available without trouble. The high notes are bright lightning.”
Ugo Malasoma, OperaClick
With the famous aria of Olympia, “Les oiseaux dans la CHARMILLE”, the American soprano Rachele Gilmore did show off her flawless agility…her dazzling high notes had an ecstatic echo.”
Courtney Smith, Grazia.it
Michigan Opera Theatre – Rigoletto
Rachele Gilmore sang Gilda’s music with skill, her coloratura supple, her ptiches perfect.”
John Guinn, Opera News
As Gilda, the young coloratura soprano Rachele Gilmore provides a sparkling complement to Thomas’ darkness. She tosses off Verdi’s soaring high notes not only with ease but with expressive point. She’s a tremulous birdling, a teenager scarcely yet flown from the nest. The outside world, love, the amoral Duke: Gilda is about to take it all in at once, with inevitable consequences. Gilmore portrays a girl we genuinely care about and frames her in singing to be relished. Her rapturous aria “Caro nome” brought down the house.”
Lawrence B. Johnson, The Detroit News
In a memorable MOT debut, Gilmore, a young American soprano, sang her first Gilda and revealed herself as a Verdi heroine of great promise. Verdi demands an unusual combination of power and grace from his leading women, and Gilmore offered lots of both, singing of love in her showcase “Caro nome” with sweetness, poise, control. Her leaping coloratura lines floated effortlessly high above the stage as if riding a cloud.”
Mark Stryker, Detroit Free Press
Knoxville Opera – I Puritani
The draw for sopranos in the character of Elvira is, of course, the Act II mad scene (“Qui la voce… Vien, diletto, è in ciel la luna”). As Elvira sank from happiness into despair, Gilmore showed not only the seemingly effortless and focused, thrill-inducing coloratura high end that she is capable of, but also a rich, flexible depth of mid-range that described her psychological journey. As a woman at the mercy of romantic and political pressure, Gilmore’s dramatic arc seemed to be an extension of her vocal soul.”
Alan Sherrod, Metro Pulse
Grand Théâtre de Genève – Alice in Wonderland
The remarkable Rachele Gilmore has a perfectly tapered, exquisite voice.”
Bertrand Tappolet, Gauchebdo.ch
The coloratura of Rachele Gilmore does not get into the shrill, and she maintains the rounded, shapely phrasing of Alice fresh, often with a melancholy smile.”
Didier van Moere, Concertone.net
Rachele Gimore, the American coloratura soprano, who has clear diction and a voice that is like a jet spray, running as high as nearby Lake Geneva, made us believe in the 12 year-old Alice and her at times malicious behavior.”
Caroline Alexander, Webthea.com
Boston Lyric Opera – Ariadne auf Naxos
As Zerbinetta, soprano Rachele Gilmore, in sunglasses and Gibson Girl bloomers, displayed more talent and charm than any one person should be allowed to possess. In her hands, “Grossmächtige Prinzessin” (Most gracious Princess) was not merely an astonishing pyrotechnical display (although it certainly was that) but a joyous expression of Zerbinetta’s character, the bushels of notes and baskets of embellishments an overflowing abundance in keeping with her view of life and love.”
Kalen Ratzlaff, Opera News
Coloratura Rachele Gilmore, a former graduate student at BU, trills her way into the stratosphere and proves a deft and adorable comedienne.”
Lloyd Schwartz, The Boston Phoenix
Gilmore is the whole package – a clever actress with a top-notch voice and a winning manner.”
Keith Powers, The Boston Herald
Gilmore’s performance as Zerbinetta was near impeccable . . . Gilmore also resisted the temptation to make Zerbinetta too much of a stock character, and this made her ultimate pragmatic truths resonate over her follies and antics. This is what makes Ariadne work as a whole.”
Rebecca Marchand, The Boston Musical Intelligencer
Rachele Gilmore was a winning Zerbinetta, with all the coquettish charm this role demands and also the secure technique and theatrical flair to make the role’s big coloratura number feel organically connected to her character rather than like a stretch of disconnected virtuoso preening.”
Jeremy Eichler, The Boston Globe
Knoxville Opera – Lucia di Lammermoor
Rachele Gilmore, in Knoxville Opera’s production of Lucia di Lammermoor, thrilled a cheering, applauding audience in what was the most solidly accomplished KOC production in recent history. Gilmore has what sopranos dream of: clear-as-a-bell, seemingly effortless high notes, and vocal flexibility with power throughout her range. Her size and voice seemed perfect for her fragile and haunted Lucia. Her fragile psyche was evident in her first-scene aria, ‘Regnava nel silenzio’, and also in ‘Quando, repito in estasi,’ in which the character of the flute, harp, and Gilmore’s articulation define the precarious dramatic divide opening before her.
“In the famous ‘Mad Scene’ in the third act, Gilmore’s Lucia was the image of tragedy, alternating between a pale, dying flower and a menacing fiend. As the tension built and the impact of the tragedy upon the wedding guests edged higher, Gilmore’s vocal madness rippled like waves in a bloody pool. And, those infamous high notes cut through it all like the bloody dagger in her hand.
“In the end, though, this was Rachele Gilmore’s evening – her first Lucia, but obviously not her last, given the tumultuous ovations she received here. Such a performance success has a bittersweet element, though. She and KOC have now set our bar of expectations for the future impossibly high.”
Alan Sherrod, Metro Pulse
Gilmore’s Lucia simply radiates from the stage . . . It’s Gilmore’s voice that one can simply not get out of one’s head. She was superb. If she keeps singing like this, no one will be forgetting her.”
Harold Duckett, The Knoxville News
The Metropolitan Opera – Les contes d’Hoffmann
On December 23rd, Rachele Gilmore made a Met debut, adding ornaments that took ‘The Doll Song’ up to an A-flat in alt – the highest note I have ever heard sung live.”
Fred Cohn, Opera News
The young American Rachele Gilmore flew up to solid and beautiful high G’s and one A-flat (that’s four-and-a-half notes above high C.) Such notes had never been heard at the Met in this part. I was lucky to see and hear her.”
Steve Cohen, The Opera Critic
Rosina’s Lesson Aria from Il barbiere di Siviglia