Reviews

“As Nick, the wonderful David Cangelosi delivered yet another superbly etched portrait as Minnie’s sympathetic bartender.”

Lawrence A. Johnson, Chicago Classical Review
Opera Review: La Fanciulla del West, Lyric Opera of Chicago
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“Some ensemble standouts include tenor David Cangelosi as the wily bartender Nick.”

Scott C. Morgan, Chicago Daily Herald
Opera Review: La Fanciulla del West, Lyric Opera of Chicago
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“David Cangelosi projected incisive brio as nasty Spalanzani.”

Martin Bernheimer, Financial Times, London
Opera Review: The Tales of Hoffmann, Metropolitan Opera
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“David Cangelosi brings a vivid physicality and penetrating tenor to the four servant roles.”

Scott Cantrell, Dallas Morning News
Opera Review: The Tales of Hoffmann, Santa Fe Opera
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“I was impressed with the energy and physicality of David Cangelosi as the four servants as well. Cangelosi stole the whole show.”

Out West Arts
Opera Review: The Tales of Hoffmann, Santa Fe Opera
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“(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.”

Sarah Bryan Miller, St. Louis Post Dispatch
Opera Review: The Tales of Hoffmann, Santa Fe Opera
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“David Cangelosi as the four comic servants…made powerful contributions.”

John Stege, Santa Fe Reporter
Opera Review: The Tales of Hoffmann, Santa Fe Opera
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“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.”

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“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.”

Operawarhorses.com
Opera Review: The Tales of Hoffmann, Santa Fe Opera
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“Even the marriage broker Goro, had a big bold tenor, in the person of David Cangelosi.”

Scott Cantrell, The Dallas Morning News
Opera review: Madame Butterfly, Dallas Opera.
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“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.”

Lawrence Toppman, Opera News
Opera review: Louise, Spoleto Music Festival
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“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.”

Paula Citron, Opera Canada
Opera review: Louise, Spoleto Music Festival
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“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.”

Lindsay Koob
Recital review: Spoleto Music Festival
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“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.”

Carol Furtwangler, Post and Courier
Recital review: Spoleto Music Festival
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“The supporting roles were fleshed out with a good deal of vocal and theatrical flourish. David Cangelosi (Bob Boles) proved especially vivid…”

Tim Smith, Opera News
Opera review: Peter Grimes, Washington National Opera
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“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.”

Richard Covello, Opera Canada
Opera review: Madama Butterfly, Lyric Opera of Chicago
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“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.”

Richard Covello, Opera Canada
Opera review: Manon, Lyric Opera of Chicago
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“David Cangelosi’s Mime was a study in scarcely suppressed fury.”

Georgia Rowe, Opera News
Opera review: Das Rheingold, San Francisco Opera
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“Cangelosi’s Mime stole the show. The man’s flinging himself around the stage while singing defies logic.”

Time Out Chicago
Opera review: Siegfried, Lyric Opera of Chicago
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“David Cangelosi gave us a vibrant, interesting tenor as Tinca.”

New York Times
Opera review: Il Tabarro, Metropolitan Opera
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“David Cangelosi used his precisely focused tenor to suggest the icy calculation behind the spy L’Incredibile’s actions.”

Fred Cohn, Opera News
Opera review: Andrea Chenier, Metropolitan Opera
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“Among the other artists, tenor David Cangelosi was an especially impressive Spoletta.”

Willard Spiegelman, Opera News
Opera review: Tosca, Dallas Opera
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“Partygoers were treated to cabaret-style performances from opera stars including David Cangelosi, Joyce DiDonato, and Nathan Gunn.”

Susanna Homan, Chicago Sun-Times
Gala review: Fantasy of the Opera, Lyric Opera of Chicago
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“In a supporting cast well-stocked with Lyric Opera regulars, David Cangelosi stood out for his admirably reptilian Goro.”

John von Rhein, Chicago Tribune
Concert review: Madama Butterfly, Ravinia Festival, CSO
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“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.”

Lisa Skolnik, reporting
Celebrity auction: Chicago Tribune Magazine
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“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.”

James Conely, Montgomery Advertiser
Concert review: Montgomery Symphony
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“Even without the famed “Golden Horseshoe” box seats, Ligon Chapel at Huntingdon College had a sense of the Metropolitan Opera. David Cangelosi, one of the Met’s principal tenors, was at the college…singing opera arias, a few art songs, and songs from musical theatre. Cangelosi used his ringing, robust tenor voice very expressively, especially for the Neapolitan songs of Pennino and di Capua that were rich with characteristic Italian passion. Throughout the program his singing was intense and dramatic, befitting his voice and the style of the music. But he gave his best performance in two tender songs, Faure’s “Lydia” and Schonberg’s “Bring Him Home.” Both of those songs were moving without sentimentality and had his best vocal purity and control.”

James Conely, Montgomery Advertiser
Recital review: Huntingdon College, Montgomery, Alabama
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“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.

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“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.”

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“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.”

F.N. D’Alessio, Associated Press
Opera review: Manon, Lyric Opera of Chicago
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“David Cangelosi gave his usual polished turn as the wicked Monostatos.”

Sarah Bryan Miller, St. Louis Post Dispatch
Opera review: The Magic Flute, Santa Fe Opera
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“Speaking of Mime, the real star of Wednesday’s opening night was Lyric Opera Center for American Artists alum David Cangelosi, who combined great vocalism with boundless energy as the scheming Nibelheim dwarf. The scene outside Fafner’s cave in Act 2 in which Siegfried, who after having tasted the dragon’s blood, can read Mime’s evil thoughts, is a consummate acting gem on Cangelosi’s part.”

Bill Gowen, Chicago Daily Herald
Opera review: Siegfried , Lyric Opera of Chicago
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