David Cangelosi portrays, in the role of Spoletta…the almost non-human species one becomes when one does not stand up to power. Cangelosi insinuates like a snake and cowers behind Scarpia’s desk like a cur. He is that true dual threat in opera of singer and consummate physical performer.
The company offered some luxury casting, including David Cangelosi as Scarpia’s henchman Spoletta.
The henchman (Spoletta)…well sung by David Cangelosi (a splendid character actor).
“In the crucial part of the novice Grigory, later the Pretender Dmitri, tenor Evgeny Akimov offers thrilling and inspired vocalism—perhaps the best in the show, after Kazakov’s. The other high-lying male role is filled by David Cangelosi. His voice is unusually rich and powerful for a character tenor, and he and Kazakov make their Act II confrontation a highlight merely through the excellence of their acting.”
“In this production, we see the evolution of Shiusky’s ambitions towards the throne. The boyar, now certain that Boris’ mental state suggests a shortened reign, is here convincingly portrayed by the excellent operatic actor, David Cangelosi.”
“David Cangelosi is aptly acidic as the betrayer Shuisky.”
“But the cast is not entirely Slavic. Americans David Cangelosi as the sinister Shuisky, Meredith Arwady as the inn hostess, and Rebecca Jo Loeb as Fyodor all scored points.”
“David Cangelosi (Shuisky) and Andrei Spekhov (Schelkalov) are also terrific.”
“Lyric stalwart tenor David Cangelosi is at his best as the bartender, Nick.”
“As Nick the bartender, David Cangelosi anchored the scene, and his continuous movement was a welcome addition to the sometimes static imagery.”
“David Cangelosi, (a) trusty Nick.”
“As Nick, the wonderful David Cangelosi delivered yet another superbly etched portrait as Minnie’s sympathetic bartender.”
“Some ensemble standouts include tenor David Cangelosi as the wily bartender Nick.”
“David Cangelosi projected incisive brio as nasty Spalanzani.”
“David Cangelosi brings a vivid physicality and penetrating tenor to the four servant roles.”
“I was impressed with the energy and physicality of David Cangelosi as the four servants as well. Cangelosi stole the whole show.”
“(Kate) Lindsey needed all the considerable athleticism at her command in this production, as did the intelligent, capable tenor David Cangelosi as the four servants.”
“David Cangelosi as the four comic servants…made powerful contributions.”
“David Cangelosi (see my interview with him at Opera, Drama and the Character Tenor: An Interview with David Cangelosi) has long been associated with the four “grotesque” roles (Andres, Cochenille, Frantz and Pitichinaccio). In this production, all four characters are merged into a ubiquitous presence, with virtually no attempt to differentiate them. That turned out not to be a problem at all.”
“Cangelosi gave an athletic performance, the stage director Christopher Alden not only using him to meet the vocal requirements of his four named characters, but for numerous stage routines from the mind of Alden, rather than Offenbach or his librettist, Jules Barbier. To show he could perform the core music of the “old” role as well as the new stage business, Cangelosi dispatched Frantz’ humorous aria Jour et nuit je me mets en quatre quite stylishly.”
“Even the marriage broker Goro, had a big bold tenor, in the person of David Cangelosi.”
“David Cangelosi was a strong-voiced Noctambulist and Pope of Fools, singing with more irony and seductiveness in his odes to bohemian pleasure. (His) long hair and white suit made this rogue foppishly elegant.”
“Character tenor David Cangelosi played the Noctambulist/Pope of Fools, spirit of mischief who encourages free love and other bad habits. He is an opera veteran and this showed to full account in his fine interpretation.”
“The supporting roles were fleshed out with a good deal of vocal and theatrical flourish. David Cangelosi (Bob Boles) proved especially vivid…”
“David Cangelosi’s Goro, beautifully sung, was refreshingly free of the fawning and mincing usually thrust upon this role, instead portraying him as a canny businessman.”
“An outstanding performance was given by David Cangelosi, who avoided overdoing Guillot, singing well instead of cackling; convincing as both a foolish old man and a dangerous villain.”
“David Cangelosi gave us a vibrant, interesting tenor as Tinca.”
“David Cangelosi used his precisely focused tenor to suggest the icy calculation behind the spy L’Incredibile’s actions.”
“Among the other artists, tenor David Cangelosi was an especially impressive Spoletta.”
“Special mention should go to character tenor David Cangelosi, a Lyric regular, who has the opera’s most nearly villainous role, that of aging aristocrat and would-be dirty old man Guillot de Morfontaine.
“Cangelosi has long specialized in characters who blend evil with comedy, and he’s come up with another one. With his red suit and ridiculous (but historically accurate) shoulder-length white wig, Cangelosi’s Guillot is a ridiculous elderly fop who never quite manages to buy Manon — or any other woman, for that matter.”
“But Cangelosi takes off the wig in the crucial Act 4 gambling scene, revealing a bald head and the naked malice that destroys the young lovers.”