After performing to critical acclaim the title role in the new Jonathan Miller production of Richard Strauss' Ariadne auf Naxos at the Broomhill Music Festival in England, Soprano Rachel Bersier appeared with the Virginia Opera where she was able to further display her exceptional vocal versatility. By understudying the title roles of Turandot and Norma, and performing Donna Anna in Don Giovanni, Mrs Bersier had been given the opportunity to demonstrate her unique ability to command such a wide spectrum of repertoire. She also performed the title role of Vanessa with the Kansas City Opera and the Mother in Dayton Opera's Hänsel und Gretel. In New York, she sang the leading role of Matilde in concert performances of Mascagni's rarely performed opera Silvano at Carnegie Hall and portrayed Agathe in Der Freischutz at the Liederkranz Opera Theatre.

Before taking on these challenging roles, Mrs Bersier gained experience by making her debut with the Cincinnati Opera as the First Lady in Mozart's Die Zauberflöte, and previously by performing the role of Marianne in Der Rosenkavalier with Opera Columbus. In concert, Beethoven's Ninth Symphony with the Honolulu Symphony, and Strauss' Vier Letzte Lieder with the Trenton Symphony have been her formative experiences.

As a stepping stone to her professional debut, Mrs Bersier was an Apprentice of the Santa Fe Opera for two consecutive years and was assigned to cover roles in Feuersnot (Diemut), Der Rosenkavalier (Marianne) and La Calisto (Giunone). As an Apprentice she appeared in extensive operatic scenes from Aida (Aida), Lohengrin (Elsa), The Rape of Lucretia (The Female Chorus), Idomeneo (Elektra) and Ariadne auf Naxos (The Prima Donna).

Internationally, Mrs Bersier received Third Prize in the Verviers Inernational Vocal Competition in Belgium and was a Finalist in the Francisco Vinas International Competition in Barcelona. Nationally, she was awarded the First Prize in the Wagner Division by the Liederkranz Foundation with whom she also performed Elisabeth in Tannhäuser. She has received grants from the Sullivan Foundation, the American Wagner Association, the Martha Moore Smith Foundation and the Metropolitan Opera.