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Mezzo-soprano Eve Gigliotti is a graduate of The Manhattan School of Music, Mannes The New School for Music and The Curtis Institute of Music.

The 2022-2023 season marks Eve’s second year as an ensemble member with The Metropolitan Opera. She will bow as Mary in Der Fliegende Höllander, Mere Jeanne in Dialogues of the Carmelites, Nelly in the stage premiere of Kevin Puts’ The Hours, and cover Sonyetka in Lady Macbeth of Mtsensk, amongst other assignments.

During the 2021-2022 season, she returned to The Met to perform a variety of roles, singing performances of Gertrude in Brett Dean’s Hamlet, Madame de la Haltière in Cinderella, Mother Goose in The Rake’s Progress, 2nd Serving Woman in Elektra, Giovanna in Rigoletto and the Nurse in Boris Godunov, while also covering the role of Magdalene in Die Meistersinger. At Carnegie Hall, she was the mezzo-soprano soloist in the American Symphony Orchestra’s presentation of Reading of a Psalm, which was also recorded in studio for future release. An imaginative entrepreneur, 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.

Eve Gigliotti made her Metropolitan Opera debut as Mercedes in Carmen, subsequently returning to reprise that role and appear as Siegrune in Robert Lepage’s milestone production of Die Walküre, led by James Levine, and broadcast to theaters worldwide in HD. Having won critical acclaim for her emotional portrayal as Ruth in the world premiere of Nico Muhly’s Dark Sisters, presented at Gotham Chamber Opera and Opera Philadelphia, Ms. Gigliotti created the role of Dodo in the world premiere of Missy Mazzoli and Royce Vavrvek’s Breaking the Waves with Opera Philadelphia, reprising the role at New York City’s Prototype Festival. Other notable operatic engagements include Siegrune at Houston Grand Opera, Tanglewood Music Festival and Washington National Opera, Isabella in L’italiana in Algeri with the ABAO Bibao Opera in Spain, Gertrude in Thomas’ Hamlet with Washington Concert Opera, Giulietta in Les contes d’Hoffmann with Hawaii Opera, and Gertrude in Roméo et Juliette with San Francisco Opera.


On the symphonic stage, Eve has performed Handel’s Messiah with the Pittsburgh Symphony, Detroit Symphony, Milwaukee Symphony, and the Seattle Symphony, with whom she has also performed Beethoven’s 9th Symphony. She peformed the US premiere of Andrew Norman’s A Trip to the Moon with the Los Angeles Philharmonic, sang Rossini’s Stabat Mater with the Oregon Symphony, and joined the Bard College Conservatory Orchestra for Mahler’s Third Symphony, conducted by Leon Botstein. Ms. Gigliotti has collaborated several times with Maestro Botstein and the American Symphony Orchestra at venues such as Carnegie Hall and Avery Fisher Hall, bowing in performances of Elgar’s The Kingdom, Scenes from Goethe’s Faust by Schumann and Bizet’s Djamileh (title role).

A champion of contemporary music, The Opera America Songbook features Ms. Gigliotti performing “Archaeology”, a song written exclusively for her by acclaimed composer/librettist team David Little and Royce Vavrek. She performed the world premiere of composer Mohammed Fairouz's new oratorio, Al-Quds: Jerusalem, at the Metropolitan Museum, and was invited by Houston Grand Opera (East + West Festival) to originate the role of Mrs. Parvin in composer Gregory Spears's opera The Bricklayer.

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

"Priva son"Eve Gigliotti
00:00 / 05:26
"Seigneur Dieu"Eve Gigliotti
00:00 / 01:57
"O Thou That Tellest Good Tidings to Zion"Eve Gigliotti
00:00 / 04:25
"Liber Scriptus"Eve Gigliotti
00:00 / 04:04
"But Who May Abide"Eve Gigliotti
00:00 / 04:06
"Dans son regard plus sombre"Eve Gigliotti
00:00 / 03:15
"Vorrei Vendicarmi"Eve Gigliotti
00:00 / 04:13
"E gelosia"Eve Gigliotti
00:00 / 04:05
Excerpts from Das Rheingold - FrickaEve Gigliotti
00:00 / 03:02

Eve Gigliotti