Manager: Michael Benchetrit
Management Territory: Worldwide
It was wonderful to see DiDonato and Cecelia Hall together at the start of Act 2: two mezzos in trouser roles, one securely established as one of the leading artists of our day and another who seems on the brink of stardom. Hall was sterling as the selfless Annio, singing with a creamy rich tone and showing dramatic acuity throughout." Lawrence A. Johnson, Chicago Classical Review, March 6, 2014
"Cecelia Hall is a real find for the Composer, her enameled mezzo strong and admirably deployed. " Scott Cantrell, Dallas Morning News, May 5, 2013
"Cecelia Hall, a member of Lyric Opera's Ryan Center, offered a stunning rendering of the title character, graced by prodigious technical assurance across the mezzo range and an unexaggerated, convincingly masculine characterization. The evening's musical zenith was the duet "Cara/caro, ti dono in pegno il cor," which found Hall coruscating down the scale with absolute precision and blending beautifully with the warrior's inamorata, the princess Agilea (Italian soprano Manuela Bisceglie)." Mark Thomas Ketterson, Opera News, June 2012
Hailed by the New York Times as a “rich-voiced mezzo-soprano,” Cecelia Hall is one of an exciting new crop of versatile American singers, poised on the threshold of an international career.
Ms. Hall’s 2014-15 season includes a return to the Metropolitan Opera as Javotte in Manon, a debut at the Canadian Opera Company as Rosina in Il Barbiere di Siviglia, and a return to the Seattle Opera as Zerlina in Don Giovanni. Other highlights include a return to Carnegie Hall for the 2015 Marilyn Horne Song Celebration, . . . a Metropolitan Opera-sponsored Mozart recital at the NJPAC and Ms. Hall’s debut at the Santa Fe Opera as Don Ramiro in La Finta Giardiniera.
In the 2013-14 season, Ms. Hall debuted as Dorabella in Così Fan Tutte with North Carolina Opera and Zerlina in Don Giovanni with Opera Philadelphia, sang a Spotlight Recital with The Song Continues at Carnegie Hall, and returned to Lyric Opera of Chicago to sing Annio in La Clemenza di Tito. In concert, Ms. Hall appeared as the Page in Salome with the Philadelphia Orchestra. Over the summer, she made her Aix-en-Provence Festival debut as Zaida in Rossini’s Il Turco in Italia. She then sang a concert of Baroque Masterworks with La Jolla Music Society’s SummerFest, and finished the summer with the Bard Music Festival as Florinda in Schubert’s Fierrabras.
A recent alumna of the Metropolitan Opera’s Lindemann Young Artist Development Program and the Lyric Opera of Chicago’s Ryan Opera Center, Ms. Hall appeared at the Lyric Opera as Third Maid in Elektra, Alisa in Lucia di Lammermoor, and Second Lady in Die Zauberflöte, among other roles. She recently made debuts with the Seattle Opera as Wellgunde and Rossweisse in their 2013 Ring des Nibelungen and with the Fort Worth Opera as the Composer in Strauss’ Ariadne auf Naxos (a role she previously sang with the Palau de les Arts in Valencia, Spain and at the Tanglewood Music Festival).
Ms. Hall received much critical acclaim for her performance in the title-role of Handel’s Teseo at Chicago Opera Theater, and she has also debuted at the Metropolitan Opera as the Second Priestess in Iphigénie en Tauride. At the Castleton Festival, she has appeared as Rosina in Il Barbiere di Siviglia and L’Enfant in Ravel’s L’Enfant et les Sortilèges. At Juilliard Opera she was featured as Concepción in L'Heure Espagnole, Nerone in L'Incoronazione di Poppea, Cherubino in Le Nozze di Figaro, and in the title role of Ariodante.
A noted recitalist, Cecelia Hall has appeared several times at Carnegie Hall, both with the Horne Foundation and with Carnegie’s Ensemble ACJW. Under the auspices of the Samling Showcase, she sang in recital at Wigmore Hall.
An alumna of The Juilliard School and DePaul University, Ms. Hall is a recipient of a 2011 Sara Tucker Study Grant, a 2012 Brian Dickie Outstanding Young Singer Award, the 2013 Lynne Harvey Foundation Scholarship from the Musician’s Club of Women, and Third Prize from the 2013 Gerda Lissner Foundation.
Updated September 2014