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The most difficult discipline in the classical vocal arts, is that of the recital/concert. It requires intense concentration, and dedication on the performance side; and an incredible grasp of vocal performing styles on the educational side. I began to add recital and concert appearances back into my performance calendar in 2006; more than 15 years after my last recital appearance! I have found them professionally refreshing and vocally challenging. With no costumes, wigs, or make-up to hide behind; the singer finds out very quickly that, for once, it really IS all about them. You simply have to be yourself, and hope for the best!!! They have begun to become among my most memorable and special moments on stage. With appearances in Chicago, IL; Boston, MA; Cleveland, OH; Montgomery, AL; Fairbanks and Denali, AK; and the Spoleto Festival in Charleston, NC; it is my hope to continue this practice well into the future.

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The 2009 Spoleto Festival (USA) staged the rarely performed opera Louise by Charpentier. I felt privileged to portray the duel roles of the Noctambulist and Pape de Fous. The two roles were combined and represented the ego/alter-ego of the same person. The beautiful, romantic arias I was thrilled to sing are among the opera's more celebrated moments--although there are many others as well. A chance to literally let down my hair and don a white suit led to one of my more favorite moments on the operatic stage. (Photo credit: Bill Struhs)

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The spring of 2007 brought with it a classic production for me at the MET, plus the worst cases of laryngitis I have ever experienced in my entire life! Everything started great, and I indeed survived the production; but not at some cost. The price paid to my otolaryngologist was steep, and the price of 'angst' can never be quantified! The first several performances were great, then the illness hit. There were others at the MET who were suffering from the same illness; it seemed to have been passed from singer to singer, whether principal artist, chorus member, accompanist or coach. It spared no one, and resulted in the complete inability to phonate. Still we somehow find a way. By the time we reached the Saturday afternoon broadcast, I was much improved, but still only rendered a performance at about 75% of capacity. The audio clips contained on this website does have Incredibile's aria as one of the selections from that broadcast; and one might detect some strain in my voice if they listen well....sorry about that, but this is one of those occupational hazards that we all, at one time or another, have to face. Remembering well that if a singer doesn't sing, they don't get paid, is one of the main reasons that many artists will still 'go on' when less than perfect. Still, overall, this Andrea Chenier which starred Ben Heppner, Violetta Urmana, and Mark Delavan (with considerable contributions by yours truly) remains etched in my mind. Ponchielli's music is beyond beautiful, and is firmly centered in the lexicon of Classic Italian Opera at its finest. My role of Incredibile is one that I had always relished doing, but never expected to get the nod from the Artistic Department at the MET some two years earlier about actually doing it. The opera is rarely performed, as it is devilishly difficult to find the singers to do it. Just really glad that I was one of them!!

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Among my great privileges while working at the MET, was meeting and working with the late film director Anthony Minghella. While I humbly boast working with other great film directors such as the legendary Franco Zeffirelli, Robert Altman, and french film director Benoit Jacquot; there was something special about Mr. Minghella. His gentle spirit and dedication to mount "a proper production", made Madame Butterfly a truly unique experience. Along with Patricia Racette, Roberto Alagna (a few times with Marcello Giordani), and Maria Zifchak, I again found myself in the middle of a spectacular production with some of today's finest voices. I have sung Goro many, many times; and never cease to enjoy it!

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Once in a great while over the course of a long career, an opera singer will find themselves not very thrilled over an upcoming contract/assignment. In fact, some colleagues have admitted to me that they, in fact, were DREADING the commencement of rehearsals for certain projects that had been contracted, perhaps years in advance. The reasons for this are many; perhaps they don't like the director with whom they will be working; maybe the opera company has a spotty reputation; it is possible that they have not adequately learned the role, or are not looking forward to working with the other singers with whom they have been contracted. I, too, must confess that I was "less-than-enthusiastic" with regard to Massenet's french masterpiece, Manon. However, with the star power of Natalie Dessay, Jonas Kaufmann, and one of my favorite directors (David McVicar), I knew that my reservations over performing the role of Guillot may have been misplaced. In fact, as is so often the case, some of the things we "pre-regret" the most, turn out to be among our favorite outings. Such was the case with Manon. With some fine singing to my credit, wonderful spoken dialogue to deliver, and working with other great friends and colleagues such as Ray Aceto and Christopher Feigum, this Lyric Opera of Chicago production of Manon became one of my favorites during my long association with the company. I was further pleased to host a few parties at my home with this cast, because we all got along so very well. Here are a few photos that I hope you will enjoy. As usual, click on the photos to enlarge and view description. (Photo credit: Dan Rest)

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When the Met decided to mount a new production of Puccini's Il Trittico, no one could have ever imagined that it would become the largest scenic production in its storied history. It also gathered an historic cast to due it justice. I felt privileged to be among the fine singers asked to participate in its premiere in 2007, and its return in late 2009. My fulsome praise to director Jack O'Brien for his delicacy and insight into staging these three masterpieces; and providing one very full and satisfying evening for the true opera fan! (Photo credit: Ken Howard)

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Of all the roles that I have sung over the course of the last 20 years or so, there is one that stands head-and-shoulders above the rest, and has obsessed me since I first heard it....Mime, from Richard Wagner's venerable Ring Cycle. From the EMI Classics recording facility in London, to the Lyric Opera of Chicago, to the Metropolitan Opera in New York, as well as San Francisco Opera; the role of Mime (Das Rheingold/Siegfried) has long been my favorite. It is the ONLY role that I always believed I could fully due justice to, given (and using) all the many gifts with which God has blessed me. I made my MET debut performing Mime, under the baton of the legendary James Levine. His congratulatory phone call to my dressing room (I have witnesses!) after my debut performance was a moment that I will never forget, and almost rivaled the stage experience!! I have posted several different shots from the productions and recording session that are now in the past, of course. It is my most sincere hope that I will be posting many more photos of various Ring productions for years to come. I guess we will all see if that wish comes true!! Many thanks to Placido Domingo and Tony Pappano for believing in me years ago, thus honoring me with the opportunity to record the Sword Forging scene from Siegfried on the CD, Wagner: Scenes from the Ring. (Photo credits: Terrence McCarthy, Dan Rest) For additional Ring Cycle photos, please see the "archive photos" gallery!

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Being invited as a guest artist to participate in the inaugural season celebrating the long-awaited Winspear Opera House in Dallas is a merit of which I am quite proud. The city has planned for this new opera house for some 20 years, and its realization has inspired pride and considerable excitement in the Dallas arts community, as well as nationally. From Otello, to the world premiere of Jake Heggy's stunning new opera Moby Dick, to the operatic warhorse Madame Butterfly (this is where I come in!), I will consider myself advantaged to return to Dallas whenever invited to return! This production of Madame Butterfly was the brainchild of Francesca Zambello who, over the years, has given us many interesting "takes" on great operatic standards. In this case, the entire opera (except for a few "fantasy-sequences") takes place in the American Consulate offices in Nagasaki. To her credit, and with precious few exceptions, Ms. Zambello justifies every line and every moment in her reassignment of staging location. A magnificent cast, which included Brandon Jovanovich, Adina Nitescu, and James Westman made yet another Madame Butterfly the highlight of my year thus far!! (Photo credit: Karen Almond)

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2009 was a rough year for the Washington Opera. The 2008 worldwide financial implosion took its toll on every major arts organization the country...so it was the 2009/2010 season that suffered mightily. The most publicized of these challenges was the cancellation of the Ring Cycle, where I was to have sung Mime--the scheduled production will get full play in San Francisco in the spring/summer of 2011--; but undeterred, Placido Domingo and company forged ahead with replacement productions. One of which was Falstaff. While not quite a Ring Cycle, to say the least; Falstaff is always a crowd-pleaser. Add to that the very dramatic Peter Grimes, and you have something for everyone. So here are some shots from both productions, as Bob Boles in Grimes, and Bardolpho in Falstaff. (Photo credit: Karin Cooper)

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While I have happily done several productions of Turandot over the course of my career, including the legendary David Hockney production; I think the most unique production was the one I did in Santa Fe in 2005. Love it, or hate it; it was indeed unique. With a transparent "glass staircase", costumes by the acclaimed designer Willa Kim, and fearlessly supported by (the now retired) General Director Richard Gaddes; this Turandot will forever stand out in my mind. From the first costume fitting, done in New York City, where Willa Kim threw a sort of tarp over my body and drew designs with a drawing pencil all over me, to my actually assisting a great deal in the staging of the top of the Act II Ping, Pang, Pong scene (I have witnesses!), to my consistently screwing up the final bow sequence of the opera; this production ranks as among the most energetic of them all. The photos on this gallery page are among the most colorful ever captured of me in costume. I hope you enjoy looking at them as much as I enjoyed doing the production. (Photo credit: Ken Howard)

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Whether at the Metropolitan Opera, the Lyric Opera of Chicago, or on the film set of the Benoit Jacquot's classic film; Tosca, by Giacomo Puccini has been a perennial favorite for opera-goers for decades. I have done innumerable productions of this stalwart, but it wasn't until a young opera apprentice came up to me at the Santa Fe Opera (after seeing one of the Zeffirelli productions I had done recently--New York, or Chicago...I cannot recall) and told me that I scared her to death just by her watching me on-stage. "You didn't even have to be singing", she said; "I was still scared to death!" It was then that it was finally confirmed to me (after many years of wanting to believe it) that it isn't just about what, or how, you sing on the stage, but rather how you present yourself AT ALL TIMES!! With some 2,500-4,000 people in attendance in the major opera houses of the world, you can rest assured that (like it or not) someone ALWAYS has their eyes on you!!! In this spirit, I have attached a few photos of one of the more sinister characters in all of opera....Spoletta from Tosca!! (Photo credits: Dan Rest-LOC, Ken Howard- Metropolitan Opera)

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Among several wonderful aspects that I attribute to my former wife Ruthann, was her immense talent in the area of Arts Administration. While she felt that this was not her ultimate calling, it did afford her the opportunity to brush up with some very fine folks from across the country when she ran the Tanglewood Institute. Not surprisingly, I too came to know the same people; some of whom have become long-time friends as I have moved through my career. These continuing relationships, led to an invitation to return to Montgomery, Alabama some 15 years after my first appearance there. I presented my recital, stayed through to do a next-day masterclass for young aspiring singers, and returned as a guest artist for a concert with the Montgomery Symphony. All this from late 2007 to early 2009. From this came the creation of the Vann Vocal Institute (VVI), where the position of Artistic Director was offered to me....more on that in a separate gallery. But in essence, we have created a program that brings high-end international talent to the Montgomery area to work with the new young talent in the South. Instead of them going to a "development program", we bring the program to them! Here are a few photos that capture those concert/masterclass, after-party moments, that led to the founding of VVI.

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As the years pass, an opera singer surely gathers more photos than necessary, but can rarely part with any of them!! Here are some of my "favorite photo memories" from productions past. Just click on the photos to enlarge, and to read a description!

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OK; after more than 30 years in professional show business, I have certainly attended my share of parties. I would be lying if I told you that I didn't enjoy them; but after this many years, I am getting sort of "partied-out". However, since many people love to see party pictures; I am happy to put up a few from one of the most recent opera house galas. I will search for more of them and post them from time to time. I hope you can "feel the fun", as well as SEE it!

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I have spent much time with a few of the Supreme Court Justices at the opera, in both Santa Fe and in Washington. Justice Ginsburg, along with Justice Scalia and their respective spouses were regular attendees and often attend together. (Unfortunatley, Ruth's husband, Martin Ginsburg, passed away recently, but was a gentle and lovely man from what I had experienced.) I was honored to be invited to Justice Ginsburg's chambers for a behind the scenes tour of the Supreme Court. The party picture is post performance of Peter Grimes in Washington D.C. 2009. We sat with one another at dinner, and had some very riveting conversation! If there ever was an operaphile, it would be Justice Antonin Scalia! He and Justice Ginsburg are VERY close friends, despite their vastly differing opinions. The gallery photo was taken at a party at the British Embassy in Washington D.C. following the opening night of Peter Grimes. Justice Scalia said to me: "I loved the portrayal of your character (Bob Boles), because he is so unapologetically sanctimonious!!" I smiled, and thought "well, of course!" Justice Scalia is an extremely approachable and and affable man (just for the record...) My photo with Justice Thomas was not at a party; we met at a restaurant in Washington D.C. over lunch. He was most gracious in taking the time to pose for this photo. The restaurant was a bit dark, so he suggested we "step outside" and allow his driver to take the picture. When I told him that I regularly meet his colleagues at the opera, he replied "Oh yes, they really like that stuff". While he has also appeared on-stage at the Washington Opera for "guest appearances" with the other Justices, I got the distinct impression that it is not his favorite art-form!! But he was still very pleased that I was experiencing a successful and active career as an opera singer!

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Teaching in the masterclass format has been a revelation to me as an instructor AND as a singer. It is not as easy as it would seem, but after 30 years of watching, learning, and "absorbing" from the world's finest conductors, singers, coaches, and directors; you wake up one day and realize that you have truly learned a lot, have it store-housed in your being, and are just itching to give that knowledge away. It is suddenly less about earning a living, and much more about "passing something on", "giving something back", or "inspiring the next generation". This altruistic phraseology used to strike me as cliche, until I started to use it and MEAN it most sincerely. In this photo gallery page, you will find photos of me in that process--"passing it on". No specific caption needs to be applied to them, but I have been privileged to work with fine young students from Alaska to Alabama (and points in between) with a sense of great satisfaction. The man who once said he "couldn't teach a three year old how to walk across the street" is somehow busy teaching others how to at least sing a bit better--probably because I actually CAN sing better than I can actually cross a street!!!!!! (Photo credit: Sue Ofe)

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As I mentioned in an earlier gallery post, it is sometimes hard to get rid of photos. So when it came time to build an all new DAVIDCANGELOSI.COM, I decided to not purge the elder photos which had been up on the old website for...well...years!! Instead, I decided to keep them all for your viewing pleasure in this archive photo gallery page. They chronicle some old exploits, such as marathon running, recording sessions, my long association with the Lyric Opera of Chicago, Placido Domingo, Paris Opera; and of course, short hair...which was cut extra short for the film 'Tosca' that premiered at the Venice Film Festival in 2001. A sort of trip down memory lane, but in some cases, not too terribly distant. I could put up hundreds of photos, but there must be a reasonable expectation of restraint somewhere along the line! Enjoy...

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