About Celeste

Celeste Godin HeadshotSelect credits: Don Giovanni (Donna Anna) with The North End Music & Performing Arts Center; The Magic Flute (Second Lady) with Pacific Music Works; Pirates of Penzance (Mabel, Outreach Program), Il Postino (Beatrice cover), and Tosca (Tosca cover) with Virginia Opera; La Tragédie de Carmen (Micaëla) and Camelot (Guenevere cover) with Charlottesville Opera; Die Ägyptische Helene (Second Elf, Chorus) with Odyssey Opera; Haroun and the Sea of Stories (Bird 2, Chorus) with Boston Modern Orchestra Project; Così fan tutte (Fiordiligi) with Barn Opera; Miss Havisham’s Wedding Night (Miss Havisham) and La Femme Bohème (Rodolfo) with MetroWest Opera; La bohème (Mimi) and Triangle (Joyce) with Boston Opera Collaborative.
Awards: Metropolitan Opera National Council Auditions (Boston District, 2018)—District Winner, Five Towns Young Musicians Competition (2017)—Second Place.
Education: New England Conservatory (Graduate Diploma, 2016; Master of Music, 2015), Pacific Lutheran University (Bachelor of Music Education, 2011).

Visit Celeste's Website

To Watch

Virtual Sing-In, Part 3

Cocktails, Concerts, and Conversations, Week 1

”Games on Saturday” (Chautauqua Opera Song Cycle)

Week One Master Class

Opera Invasion 1: Ballads on Balconies, Tour B

Week Three Master Class

Opera Invasion 2: Opera Open Book

Opera Invasion 3: Miller Bell Tower Sing-a-long

Opera Invasion 4: Grand Finale - A Musical Tour of the Institution Grounds

Young Artist Interview

CelesteQ: What is your hometown?
A: I am from Portland, Oregon, but I guess Boston is my home base now.

Q: What was the first opera you saw and how old were you?
A: The first opera I ever attended was Così fan tutte, in high school, but I started out with a love of musicals and operettas (Camelot, South Pacific, Pirates of Penzance, and so many more) when I was in grade school.

Q: What was the first opera in which you performed?
A: Technically, I played viola in a production of L’Orfeo! As a singer, it was as a chorister in Die Fledermaus. My first named role was Lady Billows in Albert Herring, and she may still be my favorite operatic role that I have played.

Q: Opera features some pretty iconic characters. Who is your favorite operatic character and why?
A: As I mentioned, I think Lady Billows is a fabulous character. I love Tosca and Agrippina as well. It is so much fun to play powerful women who are complex, have a sense of humor, and also have an air of danger about them.

Q: Who are your opera singing idols?
A: Galina Vishnevskaya! Also Maria Callas, Edita Gruberova, and Joan Sutherland.

Q: What do you love most about opera?
A: I love how so many complicated pieces come together, after so much hard work, and when everyone is laser-focused, ready to start, and in the moment, magic is made in front of an audience.

Q: Chautauquans love their ice-cream! What is your favorite flavor?
A: Mint oreo!

Photo caption: Celeste Godin as the title role in Agrippina at New England Conservatory.

Spotify Playlist

Each week, two of our Young Artists will draw inspiration from Chautauqua Institution’s weekly theme and weekly interfaith theme to curate Spotify playlists for your listening pleasure. We hope these playlists provide inspiration, joy, and a chance to engage with these themes in a different way.

For Week One, Celeste Godin drew inspiration from the theme Climate Change: Prioritizing Our Global and Local Response.

She says:

"There are so many excellent songs that address climate change, and the many themes that are directly influenced by it, that it was actually extremely difficult to narrow the list down this much. Some of these songs address the world as it is now, while some address the world as it could be in the worst case scenario. Some of these songs are hopeful, uplifting, and encouraging, while others are scathing.  I hoped to capture varied emotional responses, ranging from individual feelings of uncertainty, fear, anger, or responsibility, to broader calls to action that address the wider world, demanding answers, or encouraging people in togetherness.  Ultimately, I hope these songs all come together to form a response that encourages us to look at ourselves honestly, recognize what changes we need to make, and create change in the world around us. We have the profound opportunity and responsibility to take action — and this certainly extends to many movements beyond the response to climate change – in our country, and the world, right now."