Two telltale modern one-act operas, one born in the razzle dazzle of mid-20th century New York, the other in the lingering disillusionment and artistic rebellion of post World War I Paris.Read More
Highlands Opera Studio Review: "Rachel Krehm’s facial expressions as Ariadne were priceless, and her soulful “Ach! Wo war ich?” demonstrated the richness of Strauss’ writing for the female voice."Read More
Each year since her passing, the Krehm family has held a memorial concert as a fundraiser for St. Michael's ICU, which has now raised over $100,000 for the hospital.Read More
"Opera 5’s past productions have incorporated elements from the worlds of photography, dance, cabaret/pop culture..."Read More
For those who admire what opera singers can do, 'Whose Opera is it Anyway?' is totally mind-blowing; these singers add serious variables to the existing pressure of singing in public and being appropriately funny in a comedy bar.Jenna Douglas, Schmopera
Our leading couple, Rosalinda and Eisenstein, were given fresh life in Rachel Krehm and Michael Barrett. Krehm's full ringing soprano filled the hall and suited the Viennese style quite well.Gregory Finney, Schmopera
Rachel Krehm as Rosalinda enjoyed the comical oversize costume elements that were part of the Brechtian design scheme by Matthew Vaile. We’re put into a self-conscious, self-reflexive sort of world, at times resembling cabaret, yet the singing was full-out operatic, Krehm rising every time to the powerful high notes without losing her sense of fun.Leslie Barcza, the barczablog
A very difficult role for a singer and actress/singer Mme Krehm did it beautifully... This is live performance at its artistic best.Alvina Ruprecht, Capital Critics’ Circle
It’s just a beautiful show, with moments of dark humour interspersing one long descent into madness that gets sold thanks to Rachel Krehm’s terrific performance and utterly amazing voice. Seriously, she’ll rattle yer bones with her high notes, and that’s no foolin’. People should be flocking to this show because you really don’t get opera of this caliber for this price tag, like, EVER.Kevin Reid, Visitorium
A multi-faceted artist, soprano Rachel Krehm is the co-founder and General Director of Opera 5 and newest member of Musique 3 Femmes. As a performer she works in opera, new music, art song, improvisation, and voice and web-series acting. Along with performing, she is a writer and producer. Most recently she was seen in the title role of Strauss’ Ariadne auf Naxos with Highlands Opera Studio where her performance was described as “soulful” by Opera Canada. She has performed Poulenc’s La voix humaine multiple times, most recently with Toronto City Opera, where her performance was described as “a breathtaking virtuoso performance of boundless passion and seemingly limitless musicality” by Opera Going Toronto.
She is a regularly featured actor in the popular web-series, Opera Cheats. Rachel is also a founding member of Canada’s only opera improv team Whose Opera is it Anyway which performed monthly improvised sketch comedy featuring operatic singing at comedy clubs in Toronto and festivals around Ontario. Rachel is an avid contributor to the independent opera scene in Toronto. Aside from co-founding and running Opera 5, she sits on the Executive committee of Indie Opera T.O., the association of independent opera companies in Toronto.
An avid believer in new creation, Rachel works in commissioning, workshopping, and creating Canadian art song and opera. In 2018, she premiered an orchestral song cycle by Vancouver based composer Ryan Trew on texts by her late sister Elizabeth Krehm called Come Closer. Rachel is now working on creating a libretto to expand this work into a chamber opera with Ryan Trew. The opera will explore the relationship of sisters complicated by drug addiction and separated by death and include writing by both of the sisters weaved together through memories, dreams, and conversations.
Through the pandemic, Rachel co-wrote, produced, and performed in the Threepenny Submarine pilot, which is Opera 5’s new web series that follows puppets Lydian and Iona on deep sea adventures and combines puppetry and opera in collaboration with Gazelle Automations. Supported by the Canada Council for the Arts, eight more episodes will be created and produced in 2022. In the fall of 2021 Rachel sings Trew’s Come Closer with the Kingston Symphony Trew’s and then she will perform selections from Anna Pidgorna’s new opera Plaything with Société de musique contemporaine du Québec and Musique 3 Femmes.