Goitsemang Lehoybe was born in Ga-Rankuwa and loved singing from as early as she can remember. She heard opera for the first time during a television broadcast which featured The Black Tie Ensemble and realising that she possessed an operatic voice, she subsequently joined her high school chorus.
Since 2007 she has performed many roles to critical acclaim. In June 2010 she performed at the Simply the Best of Operetta concert in the NTN, Windhoek Namibia. In August 2013 she won 1st price at the Mimi Coertse singing competition. She is also the winner of the Shock singing competition 2013 at UCT.
Goitsemang performed in a new year’s Strauss concert 2014 and 2015 in Helsinki, Finland. In June 2014 she performed the role of Madame Lidione with The University of Cape Town’s Opera School and the Baxter Theatre Centre.
Magdalene Minaar is a vocal artist with a diverse voice. Her love for music has led her down interesting musical avenues, including an opera career specialising in character and comic roles, jazz collaborations, theatre and film work, as well as electronic music production.
After receiving her Honours degree in Music with distinction, she was accepted into the prestigious Cape Town Opera Studio where she learned and performed more than fifteen operatic roles.
Magdalene has received numerous awards and now freelances across South Africa, appearing as soloist in various productions, corporates and concerts.
Zanne Stapalberg graduated summa cum laude from the University of Stellenbosch and is a recipient of the Standard Bank Young Artist and received the Best Young Opera Singer Award from the Friends of Cape Town Opera as well as numerous other awards.
She remains one of South Africa’s most prolifically talented and engaging artists, with one critic lauding her as a “national treasure”. Her company Long Tall Woman Productions produces around 3 new music projects every year. She has performed for Pope John Paul the II, Prince Edward and Nelson Mandela. Stapelberg refuses to be pigeon holed by convention and is said to be “hurling classical music and opera into the laps of audiences who wouldn’t have listened to the genres – while not cheapening the styles and maintaining their integrity”.