Biography - English

Celeste Haworth has been heralded as "enchanting", "ravishing to both eye and ear"and possessing "effortless coloratura". She has been lauded by critics and public alike for her performances in Europe, Asia and Australia. A regular soloist with the State Theatre of Wiesbaden, Germany, and with the annual Wien Modern Festival in Vienna, Celeste has also had arias broadcast on ABC Classic FM and Fine Music 102.5 and performed extensively with renowned orchestras including the Singapore Symphony Orchestra, the Early Music Ensemble, the Deutsches Kammer Orchester, Wien Residenz Orchester and the Sydney Symphonietta.

As the winner of the 2015 German Australia Opera Grant , the acclaimed Australian mezzo made several role debuts for the Hessisches Staatstheater Wiesbaden, with roles including Emilia (Otello), Meg Page (Falstaff), 3rd Maid (Elektra), Kate Pinkerton and Suzuki (Madama Butterfly), Innkeeper (Boris Godunov), and notably as Charlotte in Zimmerman’s challenging Die Soldaten. All performances were a critical and public success.  She was asked to return for following performances and has since sung Marcellina in Le Nozze Di Figaro, and given several recitals at Hessisches Staatstheater Wiesbaden, Giessen Musik Festival, Schloss Burg Reichenstein, Trechtingshausen and Kammer Musik Wiesbaden.  Celeste recently performed with the Singapore Symphony Orchestra as the alto soloist in Brückner’s Mass in  F Minor, performed in concerts in the Wien Modern Jahresfest (Anuual Festival of Modern Vienna), Theatre Muth and the Mozart House in Vienna.

Celeste has sung many other major operatic roles in both Europe and Australia, including Tamerlano in Tamerlano (Händel), Dorabella in Cosi Fan Tutte (Mozart), Bertarido in Rodelinda (Händel) La Voix, and Muse/Nicklausse in Les Contes de Hoffmann (Offenbach), Rosina in Il Barbiere di Siviglia (Rossini), Frau Reich in Die Lustigen Weiber Von Windsor (Nicolai), Marchesa Melibea, Il Viaggio A Reims, (Rossini), Mother Goose, The Rake's Progress, (Stravinsky), Madame Rosa in Il Campanello (Donizetti), Sally in A Hand of Bridge (Barber), Deuxieme Commere in Angelique (Ibert), The Maid in Hin Und Zuruck (Hindermith), La Marchande in Les Maremelles de Tiresias (Poulenc) and both Florence Pike and Nancy Waters in Albert Herring (Britten).

Given the accomplished mezzo’s extensive vocal range and ability, she has been asked to perform modern music, and aside from Charlotte in Die Soldanten (Zimmermann), Celeste had perfomed two lead roles in operas at the annual Vienna Modern Festival (Wien Modern): Maria, Azrael by Dirk D'Ase and the Schlange, Edenarabeske by Wolfgang Liebhardt.
Celeste was also the soloist for several concert series of newly composed works for the Young Artists Program for Composers with the Sydney Symphonietta under the baton of Maestro Richard Gill.

Concert highlights as a soloist include: F minor Mass, Brückner, Singapore Symphony Orchestra, Singapore Esplenade Hall Final Movement Beethoven Symphony No.9, Theatre Muth, Vienna, Mozart Operatic Scenes Concert, Mozart House, Vienna, Final Movement Beethoven Symphony No.9. Poppea, L'incoronazione di Poppea, Montiverdi , Recording of Schubert's Staendchen with Sydney Male Choir- ABC Recorded and Broadcast, Soloist in Handel's Messiah at Angel Place and other venues , Mozart Requiem, Requiem and Handel Coronation Anthem "My Heart Is Indicting’. Soloist for the Sydney Symphony Education Program (Sinfonietta conducted by Richard Gill OAM) . Soloist Vivaldi's Gloria for Richard Gill OAM, , An Armed Man- A Mass for Peace by Karl Jenkins, conducted by Sarah Penika-Smith; Soloist, Messiah for National Trust Heritage Festival Program conducted by Dr Paul Paviour; soloist Vivaldi's Gloria, Mozart's Vespers and the Haydn Nelson Mass conducted by Luke Gilmour/Jodie Spooner; Queen Jezebel, Mendelssohn's Elijah Conducted by Neil McEwan , Soloist Bach Cantata No. 21 " Ich Hatte Viel Bekummernis", Early Music Ensemble conducted by Neal Peres Da Costa.

In previous years Celeste has been a winner or finalist in both national and major singing competitions including the Sydney City Eisteddfods, Mathy Singing Competition, Opera Foundation Awards, and the German Australia Opera Grant.

Celeste has also completed a Bachelor of Music Studies, an Advanced Diploma of Opera and a Post Graduate (Diploma of Music- Opera) at the Sydney Conservatorium, and her Masters of Opera from the Vienna Conservatorium of Music and Art, Private University (Musik und Kunst Privatuniversität der Stadt Wien).

Her Master’s Thesis “Rossini Heroines” was published and is available on

She has supplemented her education with private French lessons, and language study in Florence and Vienna, with the prestigious scholarship The George and Margeret Henderson Bequest.

Celeste continues to perform throughout 2018 and is additionally a classical music broadcaster with Fine Music 102.5 FM in Sydney.

Biography - Deutsche

Celeste ist eine Mezzosopranistin mit einem breitgefächerten Repertoire. Sie singt Konzerten in ganz Europa und ist in der Spielzeit 2015/2016 Ensemblemitglied des Hessischen Staatstheaters Wiesbaden. Celeste schloss ihre Masterstudium Oper bei einem angesehenen Wiener Privatkonservatorium ab. In dieser Zeit sang sie als Solistin beim Wiener Residenz Orchester, sie trat im Theater Muth auf und im Mozarthaus Wien.

Celeste erwarb auch ein „Bachelor of Music Studies“, ein „Advanced Diploma of Opera“ und ein „Post Graduate (Diploma of Music- Opera)“ beim Konservatorium in Sydney. Sie ergänzte ihre Ausbildung mit Sprachstudien in Florenz und Wien.

Vor ihrem Engagement am Hessischen Staatstheater in Wiesbaden sang Celeste viele Hauptrollen in Oper sowohl in Wien als auch in Sydney, darunter Dorabella in „Cosi fan tutte“ (Mozart), La Voix und Muse/Nicklausse in „Les Contes de Hoffmann“ (Offenbach), Tamerlan in „Tamerlano“ (Händel), Rosina in „Il Barbiere di Siviglia“ (Rossini), Frau Reich in „Die lustigen Weiber von Windsor“ (Nicolai), Marchesa Melibea in „Il Viaggio a Reims“ (Rossini), Bertarido in „Rodelinda“ (Händel), Mother Goose in „The Rake´s Progress“ (Stravinsky), Madame Rosa in „Il Campanello“ (Donizetti), Sally in „A Hand of Bridge“ (Barber), Deuxieme Commere in „Angelique“ (Ibert), The Maid in „Hin Und Zurück“ (Hindermith), La Marchande in „Les Maremelles de Tiresias“ (Poulenc) und sowohl Florence Pike als auch Nancy Waters in „Albert Herring“ (Britten).

Celeste wurde oft gebeten moderne Musik aufzuführen, darunter zwei Hauptrollen in Opern beim alljährlich stattfindenden Festival Wien Modern: Maria in „Azrael“ von Dirk D'Ase und die Schlange in „Edenarabeske“ von Wolfgang Liebhardt. Celeste war auch Solistin bei einer Konzertreihe mit neu komponierten Werken für das Young Artists Program für Komponisten mit den Sydney Symphonietta unter der Leitung von Maestro Richard Gill.

Bei Konzerten sang sie als Solistin unter anderem: Schlusssatz von Beethovens 9. Symphonie, Muth Theater, Wien; Konzert mit Szenen aus Mozartopern, Mozarthaus, Wien; Poppea in L'incoronazione di Poppea von Montiverdi; Aufzeichnung und Übertragung von Schuberts „Ständchen“ mit dem Sydney Male Choir; Solistin in Händels Messias im Angel Place und anderen Veranstaltungsorten; Mozart-Requiem und Krönungshymne „My heart is inditing“ von Händel. Sie war Solistin beim Sydney Symphony Education Program (Sinfonietta unter der Leitung von Richard Gill OAM), Solistin in Vivaldi´s Gloria für Richard Gill OAM, “An Armed Man” – Friedensmesse von Karl Jenkins unter der Leitung von Sarah Penika-Smith; Solistin in Messias für das National Trust Heritage Festival Program unter der Leitung von Dr. Paul Paviour; Solistin in Vivaldis Gloria, Mozarts Vesperae und Haydns Neson-Messe unter der Leitung von Luke Gilmour/Jodie Spooner; Queen Jezebel, Mendelssohn's Elias unter der Leitung von Neil McEwan, Solistin bei der Bach Kantate Nr. 21 „Ich hatte viel Bekümmernis“, Early Music Ensemble unter der Leitung von Neal Peres Da Costa. In den Jahren davor war sie Gewinnerin oder Finalistin sowohl von nationalen als auch größeren Wettbewerben.

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I have such a passion for this music- the feeling I get singing these incredible classics and forgotten masterpieces- I strive to make the audience feel the same way. I have seen people who have never heard a note of this style before be moved to tears: such is the power of this music.