Rachelle Pike, mezzo soprano, has already established herself as a "fearless" and "formidable" force, leaving an impressions on audiences from New Zealand to New York City. Ms Pike originally hails from Christchurch, New Zealand and is a recent graduate from the Manhattan School of Music with a Masters in Music in Professional Studies. Prior to that she received her undergraduate degree from the University of Canterbury and became a member of New Zealand Opera’s Emerging Artist program. This season she returned to New Zealand Opera for the reprise her 2014 role of Flora in La Traviata and in she sang Mary in Der Fliegende Holländer to great success and covered the role of Gertrude in Romeo et Juliet with VirginiaOpera.

2015 saw Ms Pike returning to New Zealand to perform role of Tisbe in their production of La Cenerentola. In the fall of 2014 she returned to Gotham Chamber Opera to cover Eva in Comedy on the Bridge by Martinů and joined Opera Santa Barbara in their production of Rigoletto as Countess Ceprano and covering Maddalena. Ms Pike was invited to New Zealand Opera in the spring of 2014 as a Freemasons Dame Malvina Major Young Artist during which time she sang the role of Flora in their production of La traviata. Winner of the 2014 Metropolitan Opera National Council Connecticut District Auditions and 2013 Memphis Council Auditions, Ms Pike was also the recipient of many prestigious awards, including the Alan M. and Joan Taub Ades Vocal Competition, Career Bridges, the Mae Orvis Zenke Opera Scholarship, the Herman Lissner Foundation Scholarship and the Barbara Bell Cunning Foundation Young Artist Award.

  • “As the gangsters . . . strong as they were, played backup to mezzo Rachelle Pike as the conniving madam Leocadia Begbick. A permanent sneer and a weapons-grade chest voice defined her as the toughest thug in town.”

    • James Jorden, NY Post
  • “It was wonderful to encounter in native New Zealander mezzo-soprano Rachelle Pike a Mary who was a foil for Senta . . . With her vibrant voicing . . . Pike enriched the scene at the start of Act Two . . . Pike made Mary’s fear of the consequences . . . palpable, her firm, musical singing far more effectively conveying the character’s panic . . . . Whatever a role’s duration, good singing always counts for much, and Virginia Opera had in Pike an uncommonly well-sung Mary”

    • Voix des Arts
  • “Rachelle Pike’s rich, ripe mezzo hit the spot as Mary”

    • Opera News
  • “Rachelle Pike handled [her] smaller role well . . . with crisp, effective acting.”

    • Washington Post
  • “The slight opening night awkwardness . . . was swept away when Rachelle Pike took the stage in a gold gown against the black of the set as party girl and hostess Flora Bervoix. . . . [S]he flashed and charmed her way to the front of our attention with an assuredness and vital voice that displayed the results of her recent years of study in New York – her appearance being another bravo moment that added a turbo charge”

    • operacritic.com
  • “The other lead singers, notably . . . Rachelle Pike as a feisty Flora, added their own lustre to a production”

    • New Zealand Herald
  • “Rachelle Pike went unrecognized . . . [b]ut the generous mezzo voice was unmistakable in her superb performance as The Widow Begbick”

    • Voce di Merche
  • “. . . but they both had to play support to the massive whonking mezzo of Rachelle Pike as Begbick. Her easy access to a fat, booming chest voice was just stunning, and it wasn’t until the curtain call that one realized she has quite a pretty face: her Leocadia’s expressions properly remained in the narrow range from smug to sneering.”

    • Parterre Box
  • “The trio . . . was especially fine. As Leocadia Begbick, the Founding Mother, Rachelle Pike offered a pulsing, opulent mezzo, good diction and true pitch. The disconnect between her deliberately stolid speaking voice and her fully operatic singing voice seemed odd at first (the dialogue was in English, the singing in German), but she emerged as an authoritative presence whose expressive, watchful eyes helped set the immoral tone of the proceedings.”

    • Opera News
  • “The mezzo-soprano Rachelle Pike, far younger than the usual Widow Begbick, was a snarling, intimidating presence, fearlessly diving into her formidable chest voice.”

    • Zachery Woolfe, New York Times
  • “Adding lively, low comedy . . . Rachelle Pike shed[s] inhibitions without scuffing a semiquaver as . . . Tisbe.”

    • New Zealand Herald
  • “In fact, everyone looks and sings his or her part to near perfection, with the sisters . . . Rachelle Pike revelling in their comedic opportunities”

    • Stuff.co.nz
  • “[Angelina’s] sisters are enthusiastically embraced by . . . Rachelle Pike, making the most of every opportunity, vocal and staging.”

    • Theatre Review
  • “The two snobby sisters . . . sung by . . . Rachelle Pike, provided great comic characters with robust voices, skilful acting and an engaging stage presence. They mixed the charming and the grotesque, creating characters the audience loved to hate.”

    • NBR





  • Meet Marcin and Rachelle

    Meet Marcin and Rachelle
  • Motorin' with the Maestro

    Motorin' with the Maestro
    Ep. 3 - Rachelle Pike

Contact Rachelle