Rachelle Pike, mezzo soprano, originally hails from Christchurch, New Zealand. She is a graduate of the Manhattan School of Music with a Masters in Music. 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. Now based in Brooklyn, she divides her time between New York and New Zealand.

This season Rachelle made her Carnegie Hall debut in the lead role of the world premier of Dojoji by Japanese American composer Riyoichi Saito. Recently she also made her Lincoln Center debut in Philharmonic Orchestra of New York’s production of La Traviata. She also returned to New Zealand Opera for the role of Tisbe in La Cenerentola and sang the role of Mary in Der Fliegende Holländer and covered the role of Gertrude in Roméo et Juliette with Virginia Opera. She reprised the role of Flora with New Zealand Opera in their production of La traviata; was alto soloist with the Richmond Symphony in Beethoven’s Symphony No. 9; and again sang the role of Flora with New Jersey Festival Orchestra.

Ms. Pike worked with Gotham Chamber Opera in their production of Baden-Baden 1927, a pastiche of works by Toch, Milhaud, Weil and Hindemith and returned to cover the role of Eva in Comedy on the Bridgeby Martinů. She joined Opera Santa Barbara in their production of Rigoletto as Countess Ceprano and covering Maddalena and Teatro Grattaceilo where she covered the role of Priyàmvada in Alfano’s Sakùntala. During the summer of 2013 she apprenticed with the Chautauqua Opera where she sang the role of Auntie in Peter Grimes and covered Quickly in Falstaff.

While engaged with New Zealand Opera as a young artist, she was assigned the roles of Mercedes in Carmen, Alice (cover) in Lucia di Lammermoor, Die Dreite Dame in Die Zauberflöte and Hänsel in Hänsel und Gretel. Her roles at The Manhattan School included; Dorabella (cover) in Così fan tutte; Candelas in de Falla’s El Amor Brujo, Duchess in Dreaming of Wonderland, Marthe in Faust, Samira in The Ghosts of Versailles and Begbick in Aufsteig und Fall der Stadt Mahagonny.

Ms. Pike has been heard in concert with the Chautauqua Symphony, Auckland Philharmonic Orchestra in New Zealand, the Southern Sinfonia and Christchurch Symphony Orchestra.

  • “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