Reviews

“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.”

“Thursday’s third and final Intermezzi series event featured three lead singers from this year’s production of Louise (our only opera this time ‘round) in recital. But significant changes were made from the festival’s program guide: the only singer listed who actually performed was Stefania Dovhan, who handled the opera’s title role beautifully. The listed tenor was Sergey Kunaev, Louise’s male lead — but we heard tenor David Cangelosi (Louise’s Noctambulist/Pope of Fools) instead (and I’m glad we did). Mr. Cangelosi started off with “Pecche,” a lovelorn Neapolitan song that showcased his rich, emotion-laden tenor. His next offerings were art-songs: “Sonntag,” a giddy number by Brahms — and Faure’s “Lydia,” a tender piece that revealed his more pastel vocal colors. And he floated some ravishing, high head-tones in “Vainement, ma bien aimee,” from Edouard Lalo’s Le Roi d’Ys. His final number was “Nothing more than this,” from Leonard Bernstein’s Candide — and he gave it a passionate and ringing rendition that brought the house down.”

“Cangelosi set the standard high when he opened with Pennino’s “Pecche” (“Why?”) sung in the Neapolitan style. His big, bold, passionate tenor was even more effective when matched with his dramatic style. When he sang two art songs, a Brahms and a Faure, he displayed excellent diction in both German and French. What a lovely falsetto in “Vainement, ma bien-aimee” from Edouard Lalo’s opera “Le Roi d’Ys.” After Cangelosi’s closing piece, “Nothing More Than This” from Leonard Bernstein’s “Candide,” I thought the audience was never going to let him leave.”

“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’s Mime was a study in scarcely suppressed fury.”

“Cangelosi’s Mime stole the show. The man’s flinging himself around the stage while singing defies logic.”

“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.”

“Partygoers were treated to cabaret-style performances from opera stars including David Cangelosi, Joyce DiDonato, and Nathan Gunn.”

“In a supporting cast well-stocked with Lyric Opera regulars, David Cangelosi stood out for his admirably reptilian Goro.”

“Longtime board members Donna Bennett and Jim Blake got in a heated bidding war for tenor David Cangelosi’s doodle of the lead characters in Turandot, the production he just starred in at the Lyric Opera of Chicago. Bennett won (with a final bid of) ($4,500) The event took in nearly $40,000.”

“Cangelosi, singing arias from Lalo’s Le Roi d’Ys and Korngold’s Die Tote Stadt, both sung with sensitivity and feeling for the characters portrayed….Cangelosi returned to sing I’m off to Chez Maxime from the Merry Widow, and other duets “Stranger in Paradise”, and “You are Love” from Showboat, leading the audience to roar approval in a standing ovation. Cangelosi responded with a solo encore, “A Simple Song” from Bernstein’s Mass.”