"Caitlin Gotimer displayed a dramatic soprano of quality and agility as Elettra,...She delivered her music powerfully and skillfully, and possibly carried away the evening’s top vocal honors." - George B. Parous, PGH in the Round

Praised for her "full, focused soprano," Caitlin Gotimer, originally from Malverne, NY, is in her second year with the Marion Roose Pullin Arizona Opera Studio. For the 2021-22 season, Caitlin will perform Micaëla in Bizet's Carmen, Mrs. Anderssen in Sondheim's A Little Night Music, and Fiordiligi in Mozart's Così fan tutte
Caitlin performed a variety of scenes and arias during Arizona Opera's Reimagined 2020-21 season, including highlights from Madame Butterfly, La rondine, and Pagliacci.
In the summer of 2020, Caitlin participated in The Glimmerglass Festival's virtual Young Artist Program, having been scheduled to sing Armida in Rinaldo prior to COVID-19.​​​​​​​
Caitlin was a part of the Resident Artist program at Pittsburgh Opera from 2018-2020. There she appeared as the title role in Alcina, Tink Enraught in Hilliard and Boresi's The Last American Hammer, Older Alyce in Cipullo's Glory Denied, Elettra in AfterWARds (Mozart's Idomeneo Reimagined,) and Sandman/Dew Fairy in Hansel and Gretel. Caitlin also covered Mimì in the company's production of Puccini's La bohème.​​​​​​​
In the 2017-18 season, Caitlin was a part of the Artist Diploma in Opera program at the University of Cincinnati College-Conservatory of Music, where she received a Masters of Music in Voice in 2017. During her time at CCM, Caitlin sang Suor Angelica in Suor Angelica, Dalinda in Ariodante, and Anne Sexton in Conrad Sousa's Transformations.
During the summer of 2017, Caitlin returned to the Crested Butte Opera Studio to sing Lauretta in Gianni Schicchi. She debuted at the company in the summer of 2016, singing Musetta in another Puccini favorite, La bohème.​​​​​​​
"Newcomer Caitlin Gotimer, doubling as Sandman and Dew Fairy, impressed with a full, focused soprano that penetrated easily and perked up listeners’ ears in her two brief appearances." 
Robert Croan, Opera News
Caitlin has been the recipient of several awards and honors. In 2020, Caitlin was a semi-finalist in the Houston Grand Opera Eleanor McCollum Competition, and a finalist in Pittsburgh Festival Opera's Mildred Miller Competition. In 2019, Caitlin won third prize in the Metropolitan Opera National Council Great Lakes Regionals, after receiving the Marianne Cornetti Award in the Pittsburgh District. In 2017, Caitlin was the recipient of one the top prizes in CCM's annual Corbett Competition, the Italo Tajo Award. Weeks later, she won the Audience Favorite Award and Second Prize in the Opera Guild of Dayton Competition. She was an Encouragement Award winner of the Cincinnati Metropolitan Opera National Councils in 2016. In 2015, Caitlin won first place in the National Biennial Collegiate Voice Competition run by NFMC. That summer, she was selected to be a Binghamton University Summer Scholar and Artist before attending the first of two summers at the Chautauqua Institute School of Music. At Binghamton University, she was the recipient of the Provost Award for Excellence in Undergraduate Research, and the Stevenson Barrett Memorial Award for Excellence in Undergraduate Vocal Performance.
Having received her Bachelors of Music in Voice from Binghamton University, Caitlin performed roles with both the Binghamton University Opera Studio and the partnered TriCities Opera. During her undergraduate studies, Caitlin developed a passion for opera outreach, performing the role of the Mother in Hansel and Gretel in schools around the area with the Binghamton University Opera Studio. In 2017, she sang Pamina in a special children’s adaptation of Die Zauberflöte with ROKCincy.
On the concert stage, Caitlin has been a soloist in the Mozart Requiem in D minor at the Song d’été in Quebec, and in the Bach Missa Brevis in F with Binghamton University. In 2014, Caitlin was the first undergraduate vocalist to win Binghamton University's Concerto Competition.
"Caitlin Gotimer, in the title role, delivered an object lesson on the art of classical singing...she seemed undaunted by the demands of the role, negotiating the most intricate ornamentations and sustained, high-flung passages with equal agility." 
George B. Parous, PGH in the Round 
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