Biography

Cellia Costea was born in Piatra Neamt, in Romania, in a family of musicians. She studied at the Liceu Musicale School of Piatra Neamt with Elena Botez. After that she got a Degree at the Music University of Bucharest .

Future engagements include Cio Cio San/Madama Butterfly at Greek National Opera and also Floria Tosca/Tosca at Opera de Toulon.

Recent engagements include Amelia/Simon Bocanegra at Opera de Toulon, Santuzza/Cavaleria Rusticana at Teatro Municipal in Santiago, Aida/Aida at Teatro Verdi Sassari, Floria Tosca/Tosca in Athens where she also performed  Elisabetta/Don Carlo and Mimì/La Bohème

Her most notable performances include Mimì/Bohème, Liù/Turandot, FloriaTosca/Tosca, Margherite/Faust, Leonora/Trovatore, Elisabetta/Don Carlo, Desdemona/Otello, Cio Cio San/Madama Butterfly, Elena/ I Vespri Siciliani, Micaela/Carmen, Suzel/L’amico Fritz, Donna Elvira/Don Giovanni, Contessa/Le nozze di Figaro.

At the beginning of her career she was awarded with "First Prize" in a few World Singing Competitionsthe VINAS COMPETITIONS of Barcelona - the MONTSERRAT CABALLE' of Andora ,the PECHINO SINGING WORLD COMPETITION of BEIJING and the JULIAN GAYARRE of PAMPLONA.

Since then she has been starring in prestigious world theaters such as London Covent Garden, Liceu de Barcelona, Staatsoper Wien, Berlin Deutsche Oper, Amsterdam Concertgebouw, Teatro Massimo Bellini of Catania, Athens National Oper, Erodes Atticus of Athens, Frankfurt Oper,  Konzerthaus Berlin, Oslo Opera Theater,  Royal Opera Amsterdam 
Opera Municipal de Marseille,  Opera Royal de Wallonie de Liege, Hannover Staatstheater, Pechino Beijing National Opera 


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Reviews

One of Three, 22 June 2013
"The most interesting singer in any of these three operas is Cellia Costea, the Elisabetta di Valois. Costea has a distinctive, dark-hued voice with an uncanny resemblance to her countrywoman Angela Gheorghiu's, especially in the black-satin middle and bottom. The top can retain a soft, rounded quality or become more dramatic and cutting when necessary. She is the only performer here who seems to understand and convey the scale of the drama through both her committed, sympathetic acting and noble, sensitive singing. And as icing on the cake, she ends the opera with a secure, blazing high B."

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