In the 2025/26 season, Masabane made her debut at the Metropolitan Opera as Liù in Puccini’s Turandot, a role she will also sing at the Royal Ballet & Opera in Covent Garden. She first performed Turandot with Sir Antonio Pappano, who can ever forget the master class on the stage in 2022 under then Royal Opera House Scholarship. She was returning to the stage after the birth of her Son, Sisanda Mololoko and with her husband Mvano Mgam ably sharing the duties, by her side, thrilled the Met audience on her debut.

Met’s sumptuous “Turandot” opens strongly with an auspicious soprano debut
Wed Sept 24, 2025 by George Grella New York Classical Review

Review

Review By David Salazar

“The vocal star was Rangwanasha. There is a charismatic sweetness to her sound and effortless carry. Her musicality was exceptionally graceful, and she was riveting in every one of Liú’s moments—from “Signore, ascolta” in Act I to “Tu, che di gel” in Act III. Her performance was so stellar that her character’s death left the resolution between Turandot and Calaf feeling a bit anticlimactic, even with the able transformations of the characters both singers brought, and the pageantry of the final scene.”

Metropolitan Opera 2025 Review: Turandot In Opera Wire

The Franco Zeffirelli production of “Turandot” at the Metropolitan Opera is iconic and a known quantity .. in watching the Sept. 30, 2025 performance of the Puccini opera, I was reminded about its enduring power. A strong cast is exactly what the Met delivered on this occasion. The production remains an assault on the senses …“As Liù, Masabane Cecilia Rangwanasha delivered a gorgeous turn. “Ah, pietà!” featured a glorious, floated high B flat. Her final scene was nothing short of awe-inspiring with her declaration of “Principessa, l’amore” delicate and yet forceful. “Tanto amore, segreto e inconfessato” was delivered with soft tones, drawing the listener in. Here to, her high notes floated at the apex of the aria, the G on “del mio amore.” “Tu, che di gel sei cinta” was gentle but pointed and you could feel her voice growing stronger with each phrase, Rangwanasha expressing Liù’s determination and strength as the inevitability of her death approached. The F natural on “gliocchi per non vederlo più” got a hair-raising crescendo to close out the line.”

Cast and orchestra bring down the house in Met Opera’s glowing Turandot revival
Review By Susan Stempleski, Backtrack 25 September 2025

Turandot, Puccini’s epic love story set in a fantasy version of Imperial China. The lavish staging – with its eye-popping sets (newly refurbished for this revival), fairy-tale exoticism, sumptuous costumes, throngs of choristers, dancers, acrobats and supernumeraries crowding the huge Met stage – continues to elicit oohs and aahs of astonishment. Musically, the performance was even more thrilling, with superb singing and acting by the principals, outstanding work from the chorus, and a fine rendition of Puccini’s ingenious, complex score. “…Masabane Cecilia Rangwanasha made a highly promising company debut. With her appropriately sweet and graceful soprano, she delivered a ravishingly nuanced, heart-stopping portrayal – from her Act 1 “Signore, ascolta!” to her vivid and tremendously emotional “Tu che di gel sei cinta” in Act 3″.

Heading to the New Year and 2026

Later in the season, Masabane returns to RBO to make her role debut as Contessa Almaviva in Mozart’s Le nozze di Figaro and performs the role in concert with the Orchestre Symphonique de Montréal.

On the concert platform, Masabane makes her debut with the Los Angeles Philharmonic in Mahler’s Symphony No. 4 (Elim Chan), Vaughan Williams’s A Sea Symphonywith the London Philharmonic Orchestra (Sir Mark Elder), Strauss’s Vier letzte Lieder with both the Philharmonia Orchestra (Søndergård) and the Royal Philharmonic Orchestra (Kevin John Edusei), and Dvořák’s Stabat Mater with the National Symphony Orchestra of Ireland (Jiří Rožeň).