Described as an “impressively silken soprano” (The Times) and “resplendent” (The New York Times) Rachel Redmond began her career with the prestigious Jardin des Voix, performing with Les Arts Florissants under the direction of William Christie and Paul Agnew in France, Spain and New York.  At William Christie’s invitation she made her début at the Opera Comique as Iris in Lully’s Atys, and performed Irene and Léontine in Robert Carsen’s production of Les Fetes Venitiennes at the Opera Comique, The Théâtre du Capitole de Toulouse and Brooklyn Academy of Music.  She subsequently made her début at the Théâtre du Châtelet as Loena in La belle Hélène.


Portrait of Rachel Redmond
Credits : Chris Wallace

Recent highlights for Rachel Redmond include her début in the role of Susanna The Marriage of Figaro for English Touring Opera, Dalinda in Ariodante at the Göttingen International Handel Festival, Haydn’s the Creation with the Academy of Ancient Music, and Handel’s l’Allegro, il Penseroso ed il Moderato with Les Arts Florissants, a return to the Aix-en-Provence Festival as Second Woman in Dido and Aeneas and A Fancy, a recording of English theatrical music with Bertrand Cuiller and Le Caravansérail.

With William Christie and Les Arts Florissants Rachel Redmond has also performed Belinda Dido and Aeneas (USA tour), Damon Acis and Galatea, Caecilia in Charpentier’s Caecilia, Virgin and Martyr, Bach Magnificat and St John Passion, Artebuse in Charpentier’s Actéon, Monteverdi Madrigals, Bach Cantatas, Grands Motets by Rameau and Mondonville, Charpentier’s Te Deum at the opening of the Paris Philharmonie and works by Purcell and Boismortier at William Christie’s inaugural Festival at Thiré.

Rachel Redmond’s other concert performances have included Handel’s Messiah, Purcell’s Fairy Queen and Vivaldi’s Juditha Triumphans with Jordi Savall and the Centre Internacional de Música Antiga, concerts of Handel, Jommelli, Galuppi, Vivaldi and Pergolesi with Collegio Ghislieri, L’Amour and Climène in Mondonville’s Isbé for the Centre de Musique Baroque de Versailles and Belinda in Dido and Aeneas and Clorinda in Monteverdi’s Il Combattimento di Tancredi e Clorinda with Helsinki Baroque Orchestra.

Her considerable concert repertoire also includes, Handel Dixit Dominus, Neun Deutsche Arien, Saul, Esther and Il Trionfo del Tempo e del Disonganno, Bach St Matthew Passion, Christmas Oratorio, B Minor Mass and Ascension Oratorio, Purcell Come ye sons of art and Hail bright Cecelia, Charpentier Les plaisirs de Versailles, Les pastorelles de Noël and La descente d’Orphée aux enfers, Graupner Diese Zeit ist ein Spiel der Eitelkeit, Brahms Requiem, Bernstein Chichester Psalms, Karl Jenkins Gloria, Beethoven Mass in C, and Orff Carmina Burana.

She has performed as a soloist with the European Union Baroque Orchestra, Norwegian Chamber Orchestra, Royal Liverpool Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Dunedin Consort, The English Concert and in Aldeburgh, at the ‘Se’ in Lisbon, London’s Wigmore Hall and the Auditorio Manuel de Falla in Granada.

Highlights this year for Rachel Redmond include ‘a journey to Haydn’, with the Royal Northern Symphonia, Galatea in Acis and Galatea with the Dunedin Consort, Mozart Requiem with le Concert des Nations, Graun Der Tod Jesu with Nederlander Bach Vereinigung, Couperin les Leçons de Ténèbres with Le Caravanséreil, Calypso in Alessandro Scarlatti Telemaco with Concerto de’ Cavalieri and Purcell Fairy Queen at Atelier Lyrique de Tourcoing.

Rachel Redmond was born in Glasgow and sang in the Junior Chorus of the Royal Scottish National Orchestra before studying at the Music School of Douglas Academy, the Royal Conservatoire of Scotland (RCS), and the Guildhall School of Music and Drama.  She was awarded the Florence Veitch Ibler prize at the RCS for oratorio performance.