Hailed for her “diamantine high notes… and giddy delirious coloratura” (Richard Dyer, Boston Globe), Welsh-born soprano, Rachel Schutz is increasingly in demand throughout the US and Europe for a wide range of repertoire, from Bach to Bernstein and Babbitt. In the summer of 2006, she made her much acclaimed orchestral debut at Symphony Hall with the Boston Pops Orchestra singing, most notably, Bernstein’s “Glitter and be Gay".

Ms. Schutz's 2008-09 engagements include a return appearance with the Boston Pops Orchestra for their "Bernstein: A Celebration!" tour, soloist in Honegger's King David with the Dessoff choirs and James Bagwell, several solo and chamber music concerts on the Hawai'ian islands of O'ahu and Lana'i and in Shanghai, China, a solo
recital at Bard College featuring Messiaen's Poèmes pour Mi, her Carnegie Hall Zankel Hall debut singing the world premier of Elena Langer's Songs at the Well and a return to the Apprentice Artist program at the Santa Fe Opera singing Giannetta in L'elisir d'amore.

In 2004 Ms. Schutz made her Stony Brook Opera debut as Flora in Benjamin Britten’s The Turn of the Screw and then returned the following year to play Susanna in Mozart’s Le nozze di Figaro. Last season she sang St. Settlement in Bard College’s inaugural staged premier performance of the one-act version of Four Saints in Three Acts; Euridice in Gluck’s Orfeo ed Euridice with the Berkshire Bach Society under James Bagwell, and Sophie in a concert version of Der Rosenavalier with the Massachusetts based The New Opera company. Other scenes and roles include Blonde in Die Entführung aus dem Serail, Ilia in Idomeneo, Zerlina in Don Giovannni, Barbarina in  Le nozze di, Figaro, Zaide in Zaide,  Gretel in Hansel und Gretel, La Fée in Cendrillon, Frasquita in Carmen, Rose in A Street Scene, Norina in Don PasqualeFirst Maid in Daphne, Mable in The Pirates of Penzance and the title role in Patience.

Ms. Schutz is equally at home in concert and recital hall settings, and is an avid supporter of new music. A two-time Tanglewood Music Center Vocal Fellow, she has worked with Phyllis Curtin, Dawn Upshaw and James Levine and has given performances at both the Koussevitzky Music Shed and the Seiji Ozawa Hall. In 2006 at Tanglewood, she sang a much acclaimed version of Babbitt’s Phonemena, in response to which, Richard Dyer wrote: “Rachel Schutz juggled the coloratura pitches in Phonemena with dazzling aplomb. It was amazing to hear how [she] could segue from singing Bernstein show tunes with the Boston Pops, into Babbitt’s world, but [she] delivered both with the same communicative zest.” (Boston Globe). Other recent performances of note include Strauss's Brentano Lieder with the Bard Conservatory Orchestra under the direction of Leon Botstein, “Et Incarnatus Est” with the Stony Brook Symphony; “No word from Tom” at Symphony Space; numerous premieres of works written especially for Ms. Schutz by Matt Vandegriff; recitals in Berlin, Germany, and Bach’s Cantata No. 51 with the Stony Brook University Orchestra. 

Previously she was the winner of the Roland Jones Scholarship Competition at the Welsh National Eisteddfod, New York Civic Morning Musicals Vocal Competition and both Stony Brook University and Bard College’s Concerto Competitions.

After making her professional debut at age 12 premiering John Hardy’s The Roswell Incident with Music Theatre Wales, Ms. Schutz began studying with Mark Gruett of the Deutsche Oper Berlin. In 2007 she completed her B.A. in Music at Stony Brook University under the tutelage of Elaine Bonazzi, and received her Masters of Music degree in 2009 from the Dawn Upshaw-run Vocal Arts Program at Bard College studying with Patricia Misslin.