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Mozart, Requiem and Mass in c minor (Mostly Mozart Music Festival, 2016)

“Cecelia Hall introduced easy flexibility, arresting poise and enveloping warmth in the mezzo-soprano challenges.” – Martin Bernheimer, Financial Times (August 22, 2016)

“Cecelia Hall added a few embellishments to her ‘Laudate,’ in the Great Mass, beaming with an infectious joy.” – Jose Andrade, ZEALnyc (August 23, 2016)

 

Mascagni, Iris (Bard Music Festival, 2016)

“Her mezzo rich and fluid, Cecelia Hall gave a wonderful account of the Geisha’s striking, often melismatic music.” – David Shengold, Opera News (July 24, 2016)

 

Strauss, Ariadne auf Naxos (Opera Theatre of St. Louis, 2016)

“The composer is a ‘trousers role’ – a male role sung by a woman. In this role Cecelia Hall just trampled on my heart. She is so young, so earnest, so innocent, so ardent! She is so dedicated to her art. Slender, long-limbed, graceful in a convincingly boyish way — and with a superb clear sweet voice — she is perfect!” – Steve Callahan, Broadway World (June 8, 2016)

“Cecelia Hall sings stylishly as the put-upon Composer.” – John von Rhein, Chicago Tribune (June 21, 2016)

“Cecelia Hall was loudly received and well loved by the audience for her unfailingly musical and stylistically superb Composer.” – James Sohre, Opera Today (June 27, 2016)

“One of the delights of Ariadne is the breeches role of the Composer, performed by mezzo-soprano [Cecelia] Hall with a fine comic understanding of what an aesthete/drama queen this young man is meant to be.” – Sarah Boslaugh, PLAYBACK:stl (June 20, 2016)

 

Rossini, Barber of Seville (NC Opera, 2016)

“Rosina is often stereotyped as a saucy flirt but mezzo Cecelia Hall acts and sings the part more naturally, an infatuated young woman willing to collude in her release.” – Roy C. Dicks, News Observer (April 2, 2016)

 

Higdon, Cold Mountain (Philadelphia Opera, 2016)

“Cecelia Hall was a notable hit as the tomboyish Ruby, who helps Ada to adjust to her impoverished circumstances.” – Bernard Jacobson, Seen and Heard International (February 12, 2016)

“The role of Ruby is a nice, unlikely surprise, and in both her vocalism and body language, Cecelia Hall had youthful swagger.” – Peter Dobrin, Philly.com (February 8, 2016)

“Cecelia Hall, who comes by her North Carolina accent honestly, wove a distinctive and believable country counterpoint to Ada.” – Andrew Moravcsik, Opera Today (February 8, 2016)

“Cecelia Hall did a beautiful job of singing and presenting the resourceful, hardscrabble Ruby, who saves Ada’s farm.” – David Shengold, Opera News (February 7, 2016)

 

Mozart, Don Giovanni (Venture Opera, 2015)

“Mezzo Cecelia Hall, already commands fine Mozartean style; her Zerlina was appealing but never cutesy.” – David Shengold, Opera News (November 8, 2015)

 

Mozart, Cosi fan tutte (Milwaukee Symphony Orchestra, 2015)

“Brenda Rae and Cecelia Hall were mesmerizing…Hall sparkled effortlessly in ‘E amore un ladroncello.'” – William Barnewitz, Urban Milwaukee (September 21, 2015)

 

Mozart, La Finta Giardiniera (Santa Fe Opera, 2015)

Photo Credit: Ken Howard

Photo Credit: Ken Howard

“In the trouser role of Ramiro, Cecelia Hall sang with a purity and evenness of tone that unexpectedly summoned up the tragic aura of opera seria.” – Simon Williams, Opera News (August 8, 2015)

“Cecelia Hall brought an ardent despair to the trouser role of Ramiro.”
-Heidi Waleson, Wall Street Journal (August 10, 2015)

“As her erstwhile, but unsuccessful, suitor, mezzo-soprano Cecelia Hall, also in a company debut, was a believable male in the pants part of Ramiro. Her earnest wooing and crestfallen endurance of Arminda’s rejection brought a touch of normality to the silliness.”
– Gregory Sullivan Isaacs, Theater Jones (August 13, 2015)

“As steadfast Ramiro, pure-voiced mezzo Cecelia Hall—noblesse personified in ‘Dolce d’amor compagna,’ one of Mozart’s glorious, quasi-Handelian arias.”
– John Stege, Santa Fe Reporter (July 29, 2015)

“Cecelia Hall effected just the right hangdog look to engage our sympathies as Ramiro, and her creamy singing was vibrant and characterful.”
– James Sohre, Opera Today (August 30, 2015)

 

Piazzolla, Maria de Buenos Aires (Aspen Music Festival, 2015)

“The splendid voices included mezzo-soprano Cecelia Hall in the title role. Clad in a slinky black gown and a blood-red shawl that she shifted and re-tied for each song, she invested Piazzolla’s sinuous melodies with low-voiced richness and definition.”
-Harvey Steiman, The Aspen Times (August 15, 2015)

 

Mozart, Le Nozze di Figaro (Bayerische Staatsoper, 2014)

“Cherubino suffered a last-minute cast change, but Cecelia Hall has stepped in with aplomb and endearing awkwardness… She cuts a dashing figure in trousers (and manages to look awkward in female attire), so it’s easy to understand why so many women find her Cherubino irresistibly adorable. Her air of noble resolution as she launches herself off the edge of the stage into the orchestra pit is particularly funny.”
– Ilana Walder-Biesanz, Bach Track (December 9, 2014)

 

Rossini, Il Turco in Italia (Festival d’Aix-en-Provence, 2014)

“The supporting roles made greater impact, particularly mezzo Cecelia Hall who brought extra personality to her singing as the Turk’s fiancée, Zaida.”
– Stephen J. Mudge, Opera News (July 7, 2014)

 

Schubert, Fierrabras (Bard Music Festival, 2014)

“One was grateful for the eventual appearance of minor keys in the music allotted Boland’s daughter Florinda, excellently interpreted by the affecting mezzo Cecelia Hall.”
– David Shengold, Opera News

 

Mozart, Don Giovanni (Seattle Opera, 2014)

“Cecelia Hall made an exquisitely charming Zerlina.”
– Melinda Bargreen Seattle Times (October 20, 2014)

“The lushly languid Cecelia Hall, with some stunningly beautiful high notes, as the ditzy flirt Zerlina.”
– Rosemary Ponnekanti, The News Tribune (October 23, 2014)

“I especially like Cecelia Hall’s curious and very human Zerlina, neatly matched to a warmly tremulous mezzo.”
– Thomas May, Bach Track (October 26, 2014)

“As Zerlina in both casts, mezzo Cecelia Hall sang with sensuality and looked beautiful and strong, nobody’s pushover.”
– Mark Mandel, Opera News (October 2014)

 

Mozart, La clemenza di Tito (Lyric Opera of Chicago, 2014)

Photo Credit: Todd Rosenberg Photography

Photo Credit: Todd Rosenberg Photography

“Another Ryan grad, now in the Metropolitan Opera’s Young Artist program, has a breakout performance here. Mezzo-soprano Cecelia Hall as Annio (another friend of Sesto who is the male-half of the opera’s secondary love story) has a wonderful stage presence as a young aristocrat in the turn-of-the-19th-century style of David McVicar’s 2011 production from Aix-en-Provence. And she combines sincerity and rich beauty in her singing.”
– Andrew Patner, Chicago Sun Times (March 7, 2014)

“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)

“Mezzo Cecelia Hall made a fetching thing of Annio’s cajoling ‘Tu fosti tradito,’ and fielded a persuasively masculine characterization.”
– Mark Thomas Ketterson, Opera News (March 5, 2014)

 

Mozart, Così fan tutte (NC Opera, 2013)

“Cecelia Hall’s Dorabella was amusingly awkward and amorously adventurous, her voice blending nicely in the many duet passages with De Trejo.”
– Roy C. Dicks, News and Observer (October 4, 2013)

 

Wagner, Der Ring des Nibelungen at Seattle Opera (2013)

The swimming, flipping Rhinemaidens, who played the focused piping of Jennifer Zetlan (Woglinde) off the round, sensuous tones of Cecelia Hall (Wellgunde) and Renée Tatum (Flosshilde), also raised the bar.
– Mark Mandel, Opera News (August 4-9, 2013)

 

Strauss, Ariadne auf Naxos (Fort Worth Opera Festival, 2013)

“Cecelia Hall is a real find for the Composer, her enameled mezzo strong and admirably deployed.”
– Scott Cantrell, Dallas Morning News (May 5, 2013)

 

Handel, Teseo (Chicago Opera Theater, 2012)

Teseo at Chicago Opera Theater, 2012 (Photo Credit: Liz Lauren)“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).”
Opera News (June 2012)

“Cecelia Hall made a quite sensational company debut in the title role Saturday night. A current member of the Lyric Opera’s Ryan Opera Center for Young Artists, Hall was wholly believable in the trousers role of the besieged soldier … Hall brought a rich mezzo voice and airtight security to her opportunities and was a consistently poised and understated dramatic presence.”
– Lawrence Johnson, Chicago Classical Review (April 2012)

“But Agilea’s heart is pledged to Teseo, a trouser role taken here by the gleaming-voiced mezzo-soprano Cecelia Hall, a rising star of Lyric’s Ryan Opera Center, who sounds headed for an important career.” “As her lover, Teseo (a part originally written for a castrato singer), Hall has the vocal beauty as well as the technique to spin the ornate vocal lines as if they are child’s play. She has no trouble mustering the heroic postures Handel requires, musically as well as histrionically.”
– John von Rhein, Chicago Tribune (April 2012)

 

Early Career Productions

“Cecelia Hall…sang with striking beauty.” – Washington Post (Ravel’s L’enfant et les sortileges at Castleton)

“Cecelia Hall wielded her rich voice to coquettish effect.” – New York Times (Ravel’s L’heure Espagnole at Juilliard)

“As the composer, mezzo-soprano Cecelia Hall is ardent and easily handles the high-lying vocal line of her great aria.” – The Boston Globe (Strauss’ Ariadne auf Naxos at Tanglewood)

“Hall’s voice has a caramel consistency, as delightful to listen to as her colorful acting was to watch’. – Boston Musical Intelligencer (Strauss’ Ariadne auf Naxos at Tanglewood)

“Cecelia Hall, a mezzo-soprano, brought a lithe, attractive sound and a winning swagger to the title role.” – New York Times (Handel’s Ariodante at Juilliard)

“In the title role, mezzo-soprano Cecelia Hall sang with fine musicianship, beguiling phrasing and a lovely sound. Her laid-back energy provided an attractive contrast to such high-octane Ariodantes as Tatiana Troyanos and Anne Sofie von Otter, and Hall’s rendition of the bleak, ‘Scherza, infida’ in Act II was superb. ” – Judith Malafronte Opera News (Handel’s Ariodante at Juilliard)