Cecilia Wessels News
South-African opera singer (soprano)
Commemorations 2025 (Birth: Cecilia Wessels)
- soprano
- South Africa
- opera singer
Last update
2024-03-29
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2020-03-04 19:23:36
Charles Richard-Hamelin (right) and Noah Wessels (seated) Review by Jim Leonard The concert began wi
2017-01-30 12:19:30
Michael Matus & George Rae will play Dionysos and Xanthias in the UK premiere of the latest Broadway version of the rarely performed musical, an hilarious send up of Greek comedy and satire, with a book revised and expanded by Nathan Lane . The Frogs, loosely based on a comedy written in 405 BC by Aristophanes, freely adapted for today by Burt Shevelove , and even more freely adapted by Nathan Lane , with Music and Lyrics by Stephen Sondheim , produced by House on the Hill Productions in association with Jermyn Street Theatre and directed by Grace Wessels, will premiere at Jermyn Street Theatre from Tuesday 14 March - Saturday 8 April.
2013-01-22 09:25:14
A Viennese Evening in Johannesburg
[…] Cock recreated this fun concert for Gauteng audiences on 19 and 20 January 2013, just before launching into the Johannesburg International Mozart Festival which will open on 27 January 2013 with a concert featuring the South African Youth Orchestra conducted by Sir Roger Norrington. I was unable to be present at either of the Viennese New Year concerts, but I did manage a sneak preview at the rehearsal. Dancers James Fraser and Linde Wessels in rehearsal. Photo credit Johnathan Andrews The two young singers are Nozuko Teto (soprano) and Siyabonga Maqungo (tenor). They brought us a sample of light songs, both solos and duets, including Vienna City of my Dreams, Meine Lippen Sie Kussen so Heiss and Libiamo (often called the Drinking Song) by Verdi. The Johannesburg Festival Orchestra, an ad hoc orchestra, were in fine form and there were many Strauss numbers by various members […]
2012-09-27 17:37:37
[…] major Zemlinsky interpreter, first revealed when he conducted the Lyric Symphony last year. He's notably good when it comes to the difficult combination of detail and cumulative pressure this music needs, with every shift in harmony or colour adding to the tension of the whole. The orchestral playing was faultless, the singing superb. Albert Dohmen's powerhouse Simone, seething resentment beneath a crumbling facade of bourgeois bonhomie, was beautifully foiled by the sullen sensuality of Heike Wessels's Bianca and the cocksure elegance of Sergei Skorokhodov's Guido. By the end, there was a sense of audience complicity in something monstrous. A very fine achievement.Its companion piece was a series of orchestral extracts from Strauss's Die Frau Ohne Schatten – a work that also deals with emotional and sexual failures within marriage, though its one moment of potential violence also marks the start of insights that lead to reconciliation. This was not Strauss's […]
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