©Photo: Fay Fox

Rihab Chaieb

Mezzo-soprano

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“Her smoky, beguiling mezzo was poised and pliant, and she cut an exotic, authoritative figure”
(Opera Today)

Tunisian-born Rihab Chaieb is a graduate of the Metropolitan Opera’s Lindemann Young Artist Program where she appeared in numerous productions, including L’italiana in Algeri (Zulma), Luisa Miller (Laura), Cavalleria Rusticana (Lola) and Hänsel und Gretel (Sandmännchen). Returning since as a guest in Don Giovanni (Zerlina) under Cornelius Meister, she appears there this season as Nefertiti in Phelim McDermott’s unforgettable production of Philip Glass’ Akhnaten, conducted by Karen Kamensek.

In the 2021/22 season, Rihab Chaieb debuts at Washington National Opera in Così fan tutte (Dorabella), sings Penelope on a European concert tour and recording of Il ritorno d’Ulisse in patria with Ensemble I Gemelli and Emiliano Gonzalez Toro, returns to Opéra et Orchestre National de Montpellier as Maddalena in Marie-Eve Signeyrole’s new staging of Rigoletto, and joins Palm Beach Opera in the title role of Carmen. In concert, Chaieb joins the Toronto Symphony Orchestra for Handel’s Messiah, and Les Violons du Roy for Mozart’s Requiem.

Demonstrating strong repertoire versatility in recent seasons, Rihab Chaieb debuted as Charlotte in Werther at Opera Vlaanderen under Giedrė Šlekytė, at Houston Grand Opera in the world premiere of Tarik O’Regan’s The Phoenix, as Rosina (Il barbiere di Siviglia) at Cincinnati Opera and as Offenbach’s Fantasio at Opéra de Montpellier. For Dutch National Opera, Chaieb sang Lola in Robert Carsen’s new staging under Lorenzo Viotti, Dorabella at Teatro Santiago de Chile, Kasturbai in Philip Glass’ Satyagraha at Opera Vlaanderen, and received unanimous acclaim for her first Carmen in Lydia Steier’s intense new production for Oper Köln.

Mon Coeur s’ouvre a ta voix (excerpt) Operalia 2018 © Medici.tv

On the concert stage, Rihab Chaieb has performed with Orchestre Symphonique de Montréal under Johannes Debus in Mahler’s Lieder eines fahrenden Gesellen and in a programme of Rossini under Kent Nagano; with both Vancouver Symphony Orchestra under Otto Tausk and Bournemouth Symphony Orchestra under Carlos Miguel Prieto in de Falla’s Three-Cornered Hat; and at the Toronto Summer Music Festival in her first Das Lied von der Erde. Last season, Rihab Chaieb joined Yannick Nézet-Séguin’s line-up of soloists for an audiovisual recording of Beethoven’s Symphony No.9 with Orchestre Métropolitain for broadcast on DG Stage, Deutsche Grammophon’s new online platform.

A former member of both Canadian Opera Company’s Ensemble Studio, where she earned major acclaim as Sesto (La clemenza di Tito), and San Francisco Opera’s Merola Opera Program, where she debuted as Cherubino (Le nozze di Figaro), Chaieb also enjoyed several summers at the Glyndebourne Festival as Mércedès (Carmen) under Jakub Hrůša, and Flora (La traviata) under Andrés Orozco-Estrada.

The recipient of many major grants, Rihab Chaieb has also enjoyed competition success, taking Third Prize at the 2018 Operalia Competition, winning the 2016 Gerda Lissner International Vocal Competition, and taking prizes at both the Metropolitan Opera National Council Auditions and the 2018 George London Foundation Competition.

Gallery

“Chaieb was a winning Rosina, soaring with flexibility through high-flying coloratura and bringing wit to her characterisation, always with lyrical beauty.”

(Cincinnati Business Courier, July 2021)

“The magnetic presence and opulent voice of Rihab Chaieb. The Canadian-Tunisian mezzo shows great class and generosity in her singing, and imbued Charlotte with nuance and colour.”

(Opéra-Online, May 2021)

“Rihab Chaieb sings Charlotte with her beautiful warm mezzo, full lower range and consistent musicality. She clearly shows the evolution of the character, from innocent young girl to troubled young woman”

(Avant-Scène Opéra, May 2021)

“Act 3 belongs to Charlotte and requires a tour de force of singing and acting, which Chaieb delivered. Her warm, amber mezzo lent an unaccustomed seductive quality to her Charlotte and credibility to Werther’s attraction. The evenness of the voice and the smoothness of its production did not stand in the way of her complete immersion in the torrent of emotions…The role could well become her calling card.”

(Bachtrack, May 2021)

“As soon as she enters, Chaieb’s Charlotte demands attention: endowed with an attractive physique and a delicate amber tone that isn’t lacking in sensuality, she has the exact range needed for the role, a rich middle register, power at the top and opulence in the depths.”

(Forum Opéra, May 2021)

“Rihab Chaieb [was] a warm, sensuous Lola”

(Opera Magazine, December 2019)

“Rihab Chaieb brought a strong personality and attractive mezzo to Dorabella.”

(Opera Magazine, December 2019)

“Rihab Chaieb delivers an outstanding performance as Lola.”

(Het Parool, September 2019)

“Lola, a vocally seductive Rihab Chaieb.”

(Bachtrack, September 2019)

“As Malibran, a coltish Mozart and Da Ponte’s long-suffering wife Nancy, the mezzo-soprano Rihab Chaieb made a solid company debut with her luxurious singing of two gorgeous arias”

(Opera Magazine, July 2019)

“especially mezzo-soprano Rihab Chaieb, who earned the evening’s biggest ovation for Cherubino…Her physical agility was equalled by a lovely, rich sound that easily projected”

(City Beat Cincinnati, June 2019)

“Rihab Chaieb was an endearing Cherubino, singing both her arias with impeccable Mozartian finesse.”

(Seen & Heard, June 2019)

“Chaieb brought her glowing tones to three roles: famed singer Maria Malibran, then Mozart and Nancy da Ponte in the opera-within-an-opera. The mischievous energy of Chaieb’s Mozart complemented the warmth of her portrayal of wife and mother Nancy…Chaieb’s rich-voiced resoluteness made that another of The Phoenix’s most powerful moments.”

(Texas Classical Review, April 2019)

“Young mezzo Rihab Chaieb, in her HGO debut, is a delightful surprise in her triple role as Nancy, 19^th-century superstar Maria Malibran and fiery Mozart. Nancy’s “Lullaby” to her children felled by disease is achingly poignant. Chaieb supplies vibrant life and emotional connection to her characters”

(Houston Press, April 2019)

“Rihab Chaieb had presence from her first entrance as Fantasio, displaying her distinctive natural timbre, good flexibility and poised top notes.”

(Forum Opéra, January 2019)

“Rihab Chaieb succeeded with flying colours as Fantasio. Her aria ’Voyes dans le nuit brune’ was particularly enchanting and demonstrated her clean lines, impressive diction and exceptional lower range. In short, a truly special voice!”

(Opéra-Online, January 2019)

“Rihab Chaieb triumphs in the title role of Fantasio, demonstrating her round, wide-ranging voice.”

(Concertonet, January 2019)

“Rihab Chaieb sounded fresh and youthful as the village girl Laura.”

(Zachary Woolfe, New York Times, April 2018)

“Rihab Chaieb impressed as Lola, standing out from the crowd”

(Bachtrack, January 2018)

“Rihab Chaieb’s shimmery-voiced Lola”

(Financial Times, January 2018)

“Rihab Chaieb was superb as Alfio’s dallying young bride Lola, showing an alluring smoke in her voice.”

(New York Classical Review, January 2018)

“the mezzo-soprano Rihab Chaieb threw herself heroically into the [role of the Prince] – a character reminiscent of Bluebeard”

(Opera Magazine, December 2017)

“Rihab Chaieb’s high-maintenance Flora was a sensuous vocal presence”

(Yehuda Shapiro, Opera Magazine, October 2017)

“As her lover, mezzo Rihab Chaieb, working a pipe and an enigmatic sneer/smile, sounded properly seductive.”

(Opera News, October 2017)

“Rihab Chaieb has a rapturous voice, full of lush colours.”

(Schmopera, October 2017)

“In the trouser role of the Fairy Prince, Rihab Chaieb matched her co-star strength for strength. Her smoky, beguiling mezzo was poised and pliant, and she cut an exotic, authoritative figure as the swaggering royal. Ms Chiaeb is a first rate musician who ably met the considerable musical demands set out for her, including an easy sensuality in her caressing manner with any number of loving, arched phrases.”

(Opera Today, September 2017)

“and [the] androgynous Fair Prince, Rihab Chaieb, a charismatic mezzo-soprano”

(New York Times, Anthony Tommasini, September 2017)

“Rihab Chaieb was the prince, slipping on a throaty and agile mezzo.”

(Philadelphia Inquirer, September 2017)

“Of the smaller roles, Flora (Rihab Chaieb) [was] especially well sung and dramatically convincing, too”

(Opera Magazine, July 2017)

“Rihab Chaieb’s warm Flora”

(Bachtrack, May 2017)

“The vibrant Canadian-Tunisian mezzo Rihab Chaieb, as Elvira’s slave, Zulma”

(New York Times, October 2016)

“Mezzo Rihab Chaieb made a solid first Met appearance as Elvira’s friend Zulma”