© Cory Weaver

CECELIA HALL

Mezzo-Soprano

Hailed by the Financial Times for her “easy flexibility, arresting poise and enveloping warmth,” Cecelia Hall has appeared since 2014 in leading roles on many of the world’s finest stages, including Munich’s Bayerische Staatsoper, Santa Fe Opera, Lyric Opera of Chicago, Canadian Opera Company, Opera Philadelphia and Oper Frankfurt, where she is currently a member of the ensemble.

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Artist Manager

Camilla Wehmeyer

camilla@wehmeyermanagement.com

Associate

Mary Donald

mary@wehmeyermanagement.com

 
 

News

New signing: American mezzo-soprano Cecelia Hall

Camilla Wehmeyer Management is delighted to welcome American mezzo-soprano Cecelia Hall to the roster for worldwide management.

 

Cecelia divides her time between the United States and Europe, having joined the ensemble of Oper Frankfurt in 2016.  This season's highlights in Frankfurt include her debut in the title role of Handel's Xerxes and Mère Jeanne in a new production of Dialogues des Carmélites, directed by Claus Guth.

 

Cecelia is an alumna of The Juilliard School and DePaul University, as well as the Metropolitan Opera’s Lindemann Young Artist Development Program and the Lyric Opera of Chicago’s Ryan Opera Center. She has since appeared regularly in New York and Chicago, as well as for Opera Philadelphia, Seattle Opera, Santa Fe Opera and Canadian Opera Company, among others. As a keen recitalist, she has appeared at New York's Carnegie Hall and London's Wigmore Hall.

 

 

Media

 

Repertoire Includes

Concert

BACH                                          

BWV 170 Vergnügte Ruh’, beliebte Seelenlust

 

BERLIOZ

Les Nuits d’Été  

 

BOULANGER

Psalm 130

 

BRAHMS

Ophelia Lieder

Viola Songs

                                                      

CHAUSSON

Chanson perpetuelle

Poème de l’amour et de la mer

 

MAHLER

Rückert Lieder

 

MOZART

Mass in C minor

Requiem

 

RAVEL

Trois Poèmes de Stéphane Mallarme

Chansons madécasses

 

RESPIGHI

Il Tramonto

 

SCHUMANN

Frauenliebe und -leben

 

TCHAIKOVSKY

Selected orchestral songs

 

VIVALDI

Gloria

 

ZELENKA

Il Serpente di Bronzo

Opera

ADAMS

The death of Klinghoffer (Omar)

 

BEECHER

I have no stories to tell you (Sorrel)

 

BELLINI

I Capuleti e I Montecchi (Romeo)

 

BERLIOZ

La Damnation de Faust (Marguerite)

 

BERNSTEIN

Trouble in Tahiti (Dinah)

 

BIZET

Carmen (Mercédès)

 

CAVALLI

Eliogabalo (Eliogabalo)

L’Egisto (Climene)

 

GLUCK

Ezio (Fulvia)

                   

HAGEN

Amelia (Amelia)

 

HANDEL

Ariodante (Ariodante)

Tamerlano (Irene)

Teseo (Teseo)

Xerxes (Xerxes)

 

JENIFFER HIGDON

Cold Mountain (Ruby)

 

HUMPERDINCK

Hänsel und Gretel (Hänsel)

  

MASCAGNI

Iris (Geisha/Dhia)

MASSENET

Werther (Charlotte)

MONTEVERDI

Il combattimento di Tancredi e Clorinda (Clorinda)

L’incoronazione di Poppea (Nerone)

 

MORRISON

Oscar (Ada Leverson)

 

MOZART

Die Zauberflöte (Zweite Dame)

Don Giovanni (Zerlina)

Così fan tutte (Dorabella)

Idomeneo (Idamante)

La Clemenza di Tito (Sesto, Annio)

La Finta Giardiniera (Ramiro)

Le Nozze di Figaro (Cherubino)

 

OFFENBACH

Les contes d’Hoffmann (Nicklausse)

 

PURCELL

Dido and Aeneas (Dido)

 

RAVEL

L’enfant et les sortilèges (L’enfant)

L’heure Espagnole (Concepción)

 

ROSSINI

Il Barbiere di Siviglia (Rosina)

 

SCHUBERT

Fierrebras (Florinda)

 

STRAUSS

Ariadne auf Naxos (Der Komponist)

Der Rosenkavalier (Octavian)

Elektra (Dritte Magd)

Salome (The Page of Herodias)

  

WAGNER

Das Rheingold (Wellgunde)

Die Walküre (Roßweiße)

Götterdämmerung (Wellgunde)

 

WEINBERG

Die Passagierin (Vlasta)

 

Press

handel TAMERLANO / oper frankfurt

"Cecelia Hall als Glitzerschnecke Irene, die Kaugummi kauend und mit Motorradhelm in die Szene platzt, lässt zeitgleich ihren Mezzosopran zu hochdramatischen Girlanden auffahren, sodass nicht nur dem bewegenden Bariton Liviu Holender als Leone beim Auftritt der Mund offen stehen bleibt."

"Cecelia Hall as the glittering chick Irene, chewing gum and bursting into the scene wearing a motorcycle helmet, simultaneously lets her mezzo-soprano rise to highly dramatic garlands, so that not only the moving baritone Liviu Holender as Leone has his mouth open during the performance."
Bettina Bodens, Frankfurt Neue Presse and Gießener Allgemeine Zeitung (November 9, 2019)

"Irene – von der Mezzosopranistin Cecelia Hall als furchtlose Frau trefflich gesungen – wiederum ist die eigentliche Braut Tamerlanos, an der er aber kein Interesse zeigt. In ihrem Glitzer-Jumpsuit passt sie tatsächlich besser zum Manipulator und mit einer gehörigen Portion Selbstbewusstsein ausgestattet, ist sie nicht bereit, von Tamerlano zu lassen."

"Irene – excellently sung by the mezzo-soprano Cecelia Hall as a fearless woman – is again Tamerlano’s actual bride, but he shows no interest in her. In her glittering jumpsuit she actually fits the manipulator better and, equipped with a good portion of self-confidence, she is not willing to let Tamerlano get away."
Ljerka Oreskovic Herrmann, Ioco.de (November 16, 2019)

"With the aria, “Par che mi nasca in seno,” mezzo-soprano Cecelia Hall restores the character’s humanity. From the first phrase, her voice is placid, shimmering yet unwavering. …Hall becomes a vessel of sincerity. Her genuineness is magnified by orchestral figures that vacillate between nobility and vulnerability."
Jeremy Hirsch, Schmopera.com (November 19, 2019)

mozart IDOMENEO / oper frankfurt

"Wunderschön harmoniert dazu der satte Mezzosopran von Cecelia Hall als Idamante. Frau Hall lässt ihre schön timbrierte Stimme mit ausdrucksvoller, jugendlicher Emphase aufblühen."

"The rich mezzo-soprano of Cecelia Hall as Idamante harmonizes beautifully with Ilia. Ms. Hall lets her beautifully timbred voice blossom with expressive, youthful emphasis."
Kaspar Sannamann, Der Opern Freund (September 7, 2019)

berlioz LA DAMNATION DE FAUST / oper frankfurt

"Die Mezzosopranistin Cecelia Hall gab vor kurzem einen großartigen Liederabend im Holzfoyer, als Marguerite wandelt sie sich überzeugend von einer unbekümmert verliebten jungen Frau zur hoffnungslos Verzweifelten und sorgt mit der melodischen romantischen Trauerarie „D’amourl’ardente flamme“, der große Hit des Dramas, für herzbewegende Momente."

"Mezzo-soprano Cecilia Hall recently gave a magnificent recital in the Holzfoyer [at Oper Frankfurt]. As Marguerite, she convincingly transforms herself from a young woman unconcernedly in love to a hopelessly desperate one, providing heart-moving moments with the melodic romantic funeral aria “D’amourl’ardente flamme”, the great hit of the drama."
Markus Gründig, Kulturfreak.de (June 19, 2019)

 

mozart LE NOZZE DI FIGARO / oper frankfurt

"Cecelia Hall gab als herziger Narziss Cherubino der Inszenierung mehr als nur einen hübschen Farbklecks."

"Cecelia Hall, as the delightful Narcissus Cherubino, gave the production more than just a pretty splash of color."
Matthias Gerhart, Frankfurt Neue Presse (April 8, 2019)

"Spätestens jedoch mit dem Auftritt von Cecelia Hall als Cherubino ist das Eis gebrochen. Sie überzeugt als junger Schwerenöter mit herrlich frischem Mezzo vom ersten Ton an. Nach ihrem „Non so piu“ gibt es erste Versuche von Szenenapplaus. Von nun an geht das Publikum mit, amüsiert sich vernehmbar über die zahlreichen kleinen Scherze und läßtsich vergnügt auf das bunte Treiben auf der Bühne ein."

"At last, with the performance of Cecelia Hall as Cherubino, the ice is broken. As a young philanderer, she convinces with wonderfully fresh mezzo from the very first note. After her “Non so piu” there are first attempts of scene applause. From now on, the audience goes along with her, is amused by the numerous little jokes, and merrily laughs at the colorful goings-on on stage."
Michael Demel, Der Opern Freund (April 13 2019)

 

 

monteverdi IL COMBATTIMENTO DI TANCREDI E CLORINDA AND BEECHER, I HAVE NO STORIES TO TELL YOU / opera philadelphia

"Cecelia Hall’s meaty mezzo matches him [Craig Verm] in fierce intensity as Clorinda, and both of them summon heart-rending color in their phrases of anguish and defeat. As the service member Sorrel, Ms. Hall turned in a searing vocal performance as a broken woman ravaged by her war experience, her portentous mezzo imparting tremulous weariness and dread as she tries to hang onto her sanity with fingertips of steel."
James Sohre, Opera Today (September 19, 2018)

"The protagonist of Lembit Beecher’s searing “I Have No Stories to Tell You,” about a female veteran suffering from PTSD, seemed even lonelier on the museum’s Great Staircase; mezzo Cecelia Hall was striking in the role, and the small period instrument ensemble, led by Gary Thor Wedow, capably created the eerie, flickering sounds of the trauma in her head."
Heidi Waleson, Wall Street Journal (September 19, 2018)

"Mezzo-soprano Cecelia Hall shows us that she is no stranger to the stylization of Monteverdi, singing with a beautiful depth that matches the surroundings. Philadelphia audiences have now heard Hall within just one year sing Mozart, Monteverdi and Beecher with nuance, class, and superior musicianship. What more proof do we need that she is a world-class vocalist?"
Erik Flaten, Schmopera (September 18, 2018)

Photos

 

   © Camilla Wehmeyer Management Limited