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American soprano Rachele Gilmore is a native of Atlanta, Georgia, and received her Bachelor’s of Music from Indiana University, continuing 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.


She is a regular performer in America, Europe, and Asia and has appeared 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. An admired concert performer, Ms. Gilmore joined the San Francisco Symphony last season as the soprano soloist for Handel’s Messiah, appeared with the Indianapolis Symphony for Mendelssohn’s Elijah, performed Gretel in Hänsel und Gretel with the Rochester Philharmonic Orchestra, and bowed with the Montgomery Symphony.


Ms. Gilmore’s orchestral appearances include recent engagements with the Pittsburgh Symphony and Manfred Honeck (Marzelline in the 1806 version of Beethoven's Fidelio, Haydn’s Mass in Time of War and Handel’s Messiah, Haydn’s Creation), the Los Angeles Philharmonic (Creation with Gustavo Dudamel, Unsuk Chin’s Alice in Wonderland with Susanna Malkki), and the BBC Symphony Orchestra (Alice in Wonderland with Malkki, Berlioz’s Béatrice et Bénédict with Ludovic Morlot). She has performed Handel’s Messiah with the Kansas City Symphony, returned to Alice in Wonderland with the Seoul Phiharmonic, bowed with the Indianapolis Symphony and the Toledo Symphony with repertoire by Mozart, Duparc, and Mahler, and appeared in a concert performance of Ravel’s L’enfant et les sortileges as the Fire, Princess and Nightingale with the Seattle Symphony.


Recent operatic engagements include Marie in La fille du Régiment with Austin Opera, her role debut as Giulietta in Bellini's I Capuleti e i Montecchi with Opera San Antonio, Blondchen in Die Entführung aus dem Serail and Gretel with Lyric Opera of Kansas City, Gilda with the Korean Symphony Orchestra, and Nannetta in Falstaff with Opera Omaha. She has sung her most acclaimed role of Olympia in Les contes d’Hoffmann with many companies, including the Bayerische Staatsoper, Teatro alla Scala, Teatro Colón in Buenos Aires and in a celebrated last-minute debut with the Metropolitan Opera.


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.

Further memorable appearances include the roles 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 in Die Zauberflöte 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.

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,

"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
orchestra seats.”
- 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,

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,

"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,


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,

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 AriaRachele Gilmore
00:00 / 06:09
"If God Be For Us", MessiahRachele Gilmore
00:00 / 05:04
"There Were Shephers", MessiahRachele Gilmore
00:00 / 02:56
"I Know That My Redeemer Liveth", MessiahRachele Gilmore
00:00 / 02:21
"But Thou Didst Not Leave", MessiahRachele Gilmore
00:00 / 02:10
"Rejoice Greatly", MessiahRachele Gilmore
00:00 / 01:56

Rachele Gilmore