Opera Singer
and Performing Artist
David Cangelosi

Similarly, I always enjoy veteran performer American tenor David Cangelosi. In this production, he was Monostatos. Cangelosi has been around international opera long enough to telegraph “I got this” to the audience. My guess is that kind of cool has a calming effect backstage, similar to that of a veteran ballplayer sitting on the bench with the jumpy rookies. DC Metro Theater Arts

“David Cangelosi’s Mime was vocally exactly right…moving…climbing…even doing an (impressive) series of cartwheels. “Cangelosi comes through it all, to his credit, singing well all along.”

"Mime…brilliantly sung and acted by David Cangelosi, possibly the greatest Mime ever."

"The remarkable David Cangelosi dominates the show to such an extent that the opera should be renamed ‘Mime’."

“Mime is David Cangelosi – beyond any doubt whatsoever the best acting I’ve seen anywhere in the world for this very fun – and challenging role.”

“Pagliacci’s best singing of the night came from Beppe…in a sweetly sung serenade, courtesy of tenor David Cangelosi. “

All of the roles were well taken. Chief among them was the remarkable character tenor David Cangelosi as the Blind Judge. His powerful singing emphasized the Judge’s tenacity...

"David Cangelosi’s lustrous Tenor tones were conveyed with complete control as the character Mime… he obviously relished the potential of this multi-layered role...a 'tour-de–force' performance."

The henchman (Spoletta)...well sung by David Cangelosi (a splendid character actor).

The supporting cast was first rate. David Cangelosi as the Blind Judge gave a stentorian hint that Justice might be rendered.

And casting David Cangelosi in the problematic role of Monostatos was inspired. Cangelosi went to town playing up the character’s officious buffoonery, singing strongly all the while.

"Nobody has ever been more effective or as amusing than David Cangelosi as Mime; he made every minute of this role a total pleasure."

“Tenor David Cangelosi made a real human being out of the secondary character Prunier, and delivered the musically important part with panache. “