Gabriela Estephanie Solís

Her notable solo concert performances from past seasons include Bach’s B Minor Mass (City Choir of Washington), Handel’s Messiah (I Cantori di Carmel), Bach’s St. John Passion, (I Cantori di Carmel), as well as Copland’s In the Beginning (University of Notre Dame), Brahms’s Alto Rhapsody (Grace & St.Peter’s, Baltimore), selections from Mahler’s Rückert-Lieder (Berkeley Community Chorus and Orchestra), Holst’s The Cloud Messenger (The Epiphany Festival), Mozart’s Requiem (Marin Symphony), and Lili Boulanger’s Psalm 130: Du fond de l’abîme (The Epiphany Festival), and a program of Vivaldi’s Gloria and Bach’s Magnificat (Roanoke Symphony Orchestra). 

Gabriela regularly collaborates with preeminent early music organizations such as the Philadelphia Bach Collective, Apollo’s Fire, American Bach Soloists, NY Baroque, Inc., and the Boston Early Music Festival in performances including Vivaldi’s Juditha Triumphans (Tempesta di Mare), Bach’s B Minor Mass (Apollo’s Fire), Bach’s Magnificat (Princeton Pro Music and NCY Baroque, Inc.), Pergolesi’s Stabat Mater (Resonance Berkeley), Handel’s Messiah (Seraphic Fire), and Buxtehude’s Membra Jesu Nostri (University of Notre Dame). On stage, she has performed the roles of Medoro in Handel’s Orlando (BEMF Young Artist Training Program), Bradamante in Handel’s Alcina, and Endimione in Cavalli’s La Calisto at San Francisco State University under the direction of Christine Brandes. In the ’25-26 season, Gabriela returned for multiple engagements with Baroque chamber ensemble Tempesta di Mare as the featured soloist for multiple projects, including the US premiere of Agata della Pietà’s Ecce nunc, a vocal-instrumental chamber concert, and a fan tour to Venice and Florence as a part of the ensemble’s multi-year celebration of the female musician and performers of Ospedali grande. 

She is committed to collaborative chamber music experiences and frequently enjoys engagements with ensembles such as Seraphic Fire and Lorelei Ensemble. Past groups also include Apollo’s Fire, Variant Six, the Oregon Bach Festival Berwick Chorus, Eya Ensemble for Medieval Music, and the choirs of the Washington National Cathedral and National Shrine of the Immaculate Conception.

As the proud descendant of immigrants from Panamá and México, Gabriela is passionate about celebrating Latin American and Spanish-language repertoire. She has previously collaborated with the Minnesota-based ensemble Border CrosSing in major works such as Golijov’s La Pasión según San Marcos, and Ariel Ramírez’s Missa Criolla, as well as a bilingual Spanish-English Messiah with the Minnesota Orchestra and a program of Latin American Baroque music with the Saint Paul Chamber Orchestra. Her personal study focuses on vocal techniques of Latin American folk and popular repertoire, and she is a regular facilitator for Spanish Sin Pena, a Spanish-language learning course for heritage speakers, where she shares music, culture, and pronunciation resources.

She is a graduate of Santa Clara University and the University of Notre Dame, and had the privilege of studying at the Weimar Bach Cantata Academy, the Amherst Early Music Festival, and the Internationale Bachakademie Stuttgart. She competed as a finalist in both the 2022 Handel Aria Competition and the 2021 Audrey Rooney Bach Competition, and won first place in the 2018 Bethlehem Bach Aria Competition.