Reviews

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

ConcertoNet
Das Wunder der Heliane, Bard Music Festival
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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…

Opera Canada
Das Wunder der Heliane, Bard Music Festival
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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.

Washington Post
The Magic Flute, Washington National Opera
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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

DC Metro Theater Arts
The Magic Flute, Washington National Opera
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And casting David Cangelosi in the problematic role of Monostatos was inspired. Monostatos was originally written as a black man, and the opera world today wrings its hands about how to deal with the blatant racism of the concept. This production simply turned him into a jerky, power-hungry, #MeToo-type white guy, and Cangelosi went to town playing up the character’s officious buffoonery, singing strongly all the while.
Washington Post

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

(Papageno’s) scenes with David Cangelosi’s Monostatos, the only performer on the stage who was any match for (his) virtuosic clowning, were riotous. And how refreshing it is to see a mature character tenor in the role of Monostatos. Cangelosi sang with a bright, pingy tone, and seemed to be having so much fun with the silly role. Thankfully, Andrew Porter’s translation smoothed over the more problematic issues with the character, and Cangelosi played him as a cartoonish scoundrel, akin to Wile E. Coyote.
Schmopera

THE MAGIC FLUTE’s success lies in it’s exceptionally talented cast…and David Cangelosi as the sex-pest Monastatos is a stand out performance.
Broadway World (BWW)
Character tenor David Cangelosi hammed it up as the absurd villain Monostatos.
Washington Classical Review

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The rest of the cast was excellent…The most unsettling sight in Christian Räth’s grim production was that of the Blind Chief Justice who presided over the trial of Heliane, his daughter, from a cart pulled by a boy in a chrome harness. The image resonated on so many levels, all of them profoundly disturbing. David Cangelosi, a terrific tenor, was the Chief Justice, surprisingly tender and paternal in his interactions with his daughter.
Seen and Heard International

The opera’s supporting players were universally cast from strength…tenor David Cangelosi made a piquant impression as the blind Chief Justice – who is also Heliane’s father, but must decide her fate. Cangelosi played that internal conflict par excellence.
Bachtrack

Tenor David Cangelosi was excellent as The Blind Judge.
Voce di Meche

All of the supporting 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…
Opera Canada

The remaining principals, Jennifer Feinstein as the Messenger, Nicholas Brownlee as the Porter, and David Cangelosi as the blind Chief Justice gave splendid performances.
BMI

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

David Cangelosi’s Blind Chief Justice is given major sections to sing as he seems to have the final say as to who lives and who dies.
Operawire

Praise…also for The Blind Chief Justice, sung by David Cangelosi.
Operametro

David Cangelosi sang vividly as the Blind Judge.
New Criterion

David Cangelosi served up an Expressionist, incisively sung, Chief Justice.
Opera News

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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.

DC Theatre Scene
‘Tosca’, Washington National Opera (May 2019)
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The company offered some luxury casting, including David Cangelosi as Scarpia’s henchman Spoletta.

Washington Post
‘Tosca’, Washington National Opera (May 11, 2019)
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The henchman (Spoletta)…well sung by David Cangelosi (a splendid character actor).

Washington Classical Review
‘Tosca’, Washington National Opera (May 11, 2019)
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“Mime…brilliantly sung and acted by David Cangelosi, possibly the greatest Mime ever.”

Opera West
Opera Review: as Mime
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“As Mime, tenor David Cangelosi dominated the first act of ‘Siegfried’.”

Washington Post
Opera Review: as Mime
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“Nobody has ever been more effective or as amusing than David Cangelosi as Mime; he made every minute of this role a total pleasure.”

Opera West
Opera Review: as Mime
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“The remarkable David Cangelosi dominates the show to such an extent that the opera should be renamed ‘Mime’.”

The Classical Review
Opera Review: as Mime
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“American tenor David Cangelosi…succeeded in making the first two acts of Siegfried high points of the entire Ring cycle.”

Opera Today
Opera Review: as Mime
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“The strongest male singer over the weekend was David Cangelosi, an athletic and funny Mime.”

Los Angeles Times
Opera Review: as Mime
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“David Cangelosi wonderfully oily and athletic as the conniving dwarf Mime.”

Chicago Tribune
Opera Review: as Mime
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“David Cangelosi is simply the best Mime I have ever seen or heard, his approach refreshingly three-dimensional and varied.”

ihearvoices.com
Opera Review: as Mime
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“Tenor David Cangelosi…sings the rôle more comfortably than many Mimes heard in recent years. Cangelosi’s Mime is like a live wire, showering every scene in which he appears with dramatic sparks… his use of text throughout the performance is masterly…his vocalism is gratifyingly fluent.”

Seen and Heard International
Opera Review: as Mime
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“The role of Mime is unquestionably David Cangelosi’s signature role.”

Opera Warhorses
Opera Review: as Mime
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“David Cangelosi…marvellous…as Mime.”

Financial Times
Opera Review: as Mime
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“Vocally, David Cangelosi delivers just about everything you could want in Mime. His full clear tenor easily sails over the roiling orchestra and never grows tiresome to listen to.”

Parterre
Opera Review: as Mime
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“Mime – David Cangelosi – was superb, a character singer-actor… dancing, high fives and all.”

Bachtrack
Opera Review: as Mime
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“Throughout the Ring David Cangelosi’s Mime was particularly creepy and unctuous, but in Siegfried, he almost managed to make Mime convincingly pathetic. He has a great character tenor sound and acts well.”

Das Opernglas
Opera Review: as Mime
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“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.”

DC Metro Theater Arts
Opera Review: as Mime
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“In the wrong hands, Act 1 of Siegfried can be a chore…But that’s not the case here. David Cangelosi provides a gorgeously sung Mime, never resorting to snarling or blustering. He manages to provide many fine character touches by darkening and lightening the tone.”

Opera News
Opera Review: Siegfried
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“Cangelosi’s practiced Mime was a full theatrical creation.”

Opera News
Opera Review: Siegfried
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“The cast is very fine. David Cangelosi is an articulate Mime, mildly sinister and certainly not caricatured.”

Classical CD Review
Opera Review: Siegfried
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“David Cangelosi and Werner Van Mechelen field characterful portrayals as Mime and Alberich.”

Financial Times, London
Opera Review: Siegfried
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“Returning as Mime, David Cangelosi almost stole the show with his tremendously characterful and generously-voiced performance, which won a huge ovation during curtain calls. Indeed, his Mime was the most all-rounded portrayal in the midst of this estimable cast.”

Classical.Net
Opera Review: Siegfried
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“And Cangelosi is a special Mime, (in the Graham Clark class) for characterization and word-attention without the mannerisms of older interpreters.”

Grammophone U.K.
Opera Review: Siegfried
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“David Cangelosi’s forceful Mime…sings rather than barks.”

BBC
Opera Review: Siegfried
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“In Act 1 (Siegfried) occasionally sounds a bit like the Mime of David Cangelosi–a compliment to the latter rather than a critique of the former–Cangelosi sings, rather than mugs, the role of Mime.”

Classics Today
Opera Review: Siegfried
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