From Manhattan to Baden-Baden, Ingeborg Gillebo is in demand for her mezzo-soprano voice of rare brightness and lustre. She has appeared at some of the world’s greatest operatic institutions including the Bayreuth Festival and the Metropolitan Opera.


Ingeborg’s most recent and future highlights include (among others):

  • a full role debut in the title role in Carmen at the Norwegian National Opera and Ballet, a production by Calixto Bieitos (June 2022);
  • First Esquire and Fifth Flowermaiden in Wagner’s Parsifal w. Bergen Philharmonic Orchestra, conducted by Edward Gardner;
  • Gudrun and Hulda’s mother in C. Franck’s Hulda at the Lillehammer Opera & Ballett;
  • Verdi’s Requiem w. KORK and Peter Szilvay in Oslo and w. Trondheim Symphony Orchestra at the Trondheim International Olavsfest;
  • Haydn’s Nelson Mass w. the Arctic Philharmonic;
  • Szymanowski’s Stabat Mater w. the Oslo Philharmonic;
  • concerts at the Hemsing Festival;
  • concerts at the Gudbrandsdal Musikkfest Festival;
  • Mendelssohn’s Elijah (semi-staged) w. Kristiansand Domkor;
  • concerts w. Ensemble Noor and Scene Nord;
  • recitals w. pianist Lina Bråten in Norway.


Ingeborg was born in Øyer in central Norway. She studied at the Norwegian Academy of Music in Oslo and at the Royal Danish Opera Academy in Copenhagen, as well as participating in the Academie Européenne de Musique at the Festival d’Aix-en-Provence. She made her professional debut in 2010 as Margret in Wozzeck at the Royal Danish Opera.

Since then, Ingeborg has appeared at Zurich Opera, the Theater an der Wien, the Théâtre du Capitole de Toulouse, the Opéra Royal de Versailles, the Baden-Baden, Bayreuth and Drottningholm and Festivals, the Bergen National Opera and the Norwegian National Opera whereas a company member her roles included Cherubino (Le nozze di Figaro), Dorabella (Così fan tutte), Zerlina (Don Giovanni) and Mélisande (Pelléas et Mélisande). In concert, she has worked with the Berlin Philharmonic, Oslo Philharmonic, Camerata Salzburg, City of Birmingham Symphony Orchestra, and Paris Chamber Orchestra, among others.

In 2014, Ingeborg sang the role of Cherubino in Le nozze di Figaro at the Metropolitan Opera in New York, returning in 2017 to sing Hänsel in Hänsel und Gretel in Richard Jones’s iconic production. Other roles in her repertoire include Siebel (Faust), Nicklausse (Les Contes d’Hoffmann), Annio (La clemenza di Tito), and the title role in Carmen. In 2016, Ingeborg made her debut at the Bayreuth Festival, singing a Flower Maiden in Uwe Eric Laufenberg’s production of Parsifal.

Ingeborg has worked with conductors at the highest echelons of the profession, among them Sir Simon Rattle, Andris Nelsons, Marc Minkowski, Vasily Petrenko, Sir Roger Norrington, Iván Fischer, Rinaldo Alessandrini, Fabio Biondi, James Levine, Andrew Manze, Thomas Dausgaard, Hartmut Haenchen, Andrew Parrott and Emmanuel Villaume. As a concert and lieder singer, her repertoire encompasses works by Bach, Mozart, Haydn, Schubert, Beethoven, Mendelssohn, Mahler, and Grieg.

Ingeborg has appeared at the Richard Tucker Gala at Carnegie Hall in New York and represented Norway at BBC Cardiff Singer of the World and The Belvedere competition.


Ingeborg Gillebo – G. Mahler – Wo die schönen Trompeten (Frogner hovedgård, Oslo 2021)

Ingeborg Gillebo – G. Mahler – Urlicht (Frogner hovedgård, Oslo 2021)

Ingeborg Gillebo – W.A. Mozart – La clemenza di Tito – Torna di Tito a lato (Bergen National Opera, 2021)

Ingeborg Gillebo – G. Mahler – Das irdische Leben (Frogner hovedgård, Oslo 2021)


Frauenliebe und -leben at the Norwegian Opera & Ballet – Jan. 2024

“Excellent musical performances.
Where the production is not able to keep the intensity, the singers and the Opera Orchestra save the day. Pianist Håvard Gimse and mezzo-soprano Ingeborg Gillebo are a brilliant combination in Frauenliebe- und leben, with lyrical vocal lines and beautiful fulness of the sound.

– Aksel Dalmo Tollåli, Aftenposten Kultur

Frauenliebe und -leben at the Norwegian Opera & Ballet – Jan. 2024

“Ingeborg Gillebo has a breathtaking lyrical mezzo-soprano, both light and warm, and at the same time she has a strong stage presence. She is quite emotionally balanced in her expression, and that gave extra strength in the death scene, where she showed a deeper intensity in her acting. In a way, she came to life in the death scene.”

–Ola Nordal, Klassisk Musikk