Michele Angelini Tenor

Michele Angelini continues to solidify his international reputation as one of the foremost tenors specializing in the bel canto and Mozartian repertoire.

Photo Credit: Rebecca Fay

Photo Credit: Rebecca Fay

“Orphée et Eurydice” at The Royal Opera House at Covent Garden 2015




“The young American tenor Michele Angelini had a hard act to follow in Juan Diego Flórez, who opened as Orpheus in the Royal Opera’s striking new Gluck production. This wasn’t a house debut—he sang two Don Ottavios in last season’s revival of Don Giovanni, and his lively, engaging Count Almaviva graced the most recent run here of Il barbiere di Siviglia. Yet the French Orphée is a taller order, and replacing an established star in his prime a more daunting task.  Vocally, Angelini met the challenges head on: his pingy, Italianate timbre has more substance, perhaps, than Flórez’s, and he sounded less prone to lachrymose Italianate mannerisms in emotional extremis: one could say that his performance was more ‘Classical’, Mozartian even, though mature Mozart never asks his tenors to scale the stratosphere as Gluck does. Even if Angelini didn’t seem as completely in the skin of the role in John Fulljames and Hofesh Shechter’s abstract staging (I wonder how much rehearsal he had), he entered into its spirit manfully, and sang his three great arias seemingly with so little effort that he easily won over the audience. Gluck really doesn’t get much better than this.” – Hugh Canning, Opera Magazine UK, December 2015


“Orphée et Eurydice” at The Opéra Royal, Château de Versailles 2015


“Le ténor Michele Angelini s’est parfaitement tiré d’affaire et s’est montré digne des bravos qui lui furent adressés.”  (Trans: The tenor MA was perfectly up to the task and showed himself worthy of the applause he received.) – Jean-Pierre Martel, Personal Blog, 10/8/15


“[…] on se réjouit de constater que l’époque semble révolue où les chanteurs étrangers pouvaient sans vergogne interpréter le répertoire français avec un accent à couper au couteau, qu’il soit anglo-saxon ou méditerranéen. Car c’est là le premier des bonheurs que distille l’Orphée de Michele Angelini, doublure de Juan Diego Flórez à Londres: son français est excellent […] de l’immense qualité de son interprétation. Riche idée que d’avoir confié le rôle à un ténor rossinien, ce qui nous garantit une maîtrise de la virtuosité nécessaire. Oui, mais Michele Angelini est aussi un mozartien, et son timbre ne cesse d’enchanter par sa douceur, sans aucun son trop ouvert; rien de pincé ni de nasillard chez ce ténor, c’est assez rare pour qu’on le souligne, et surtout un usage admirable du falsetto et de la voix mixte. Bref, le public rassemblé à Versailles n’a pas eu Flórez, mais il n’a rien perdu au change, et l’on a hâte d’entendre […] cet Orphée d’exception.”  (Trans: …we rejoice in realizing that the era when foreign singers could, without scruple, interpret the French repertoire with an accent that cut like a knife—either Anglo-Saxon or Mediterranean—seems to finally be over. This is precisely the first of many joys that distinguished the Orpheus of MA, second-cast to Juan Diego Florez in London: his French is excellent and his interpretation of immense quality. It was a wise idea to have entrusted the role to a Rossini tenor, thus guaranteeing a mastery of the necessary virtuosity. Yes, however MA is also a Mozartian, and his timbre never ceases to enchant with its sweetness, no tone spread or forced; there is nothing pinched or nasal in this tenor, even rarer as one who sings with full support, and above all, with a refined use of falsetto and mixed voice. Though the public gathered at Versailles did not have Florez, they lost nothing in the exchange, and we eagerly await to hear again this exceptional Orpheus.” – Laurent Bury, www.forumopera.com, 10/7/15


Rossini’s “Stabat Mater” with The Rheingau Musik Festival 2015


“Dass mit der Tenorarie im Rossinis “Stabat mater” der Bart schon wieder ab ist, regt längst keinen mehr auf. Einspringer Michele Angelini stattet die Opernarie, für die gerade keine Oper da war, mit jeder Menge stimmlichem Sanftmut aus, auch wenn das Stück geradewegs aufs hohe Des zusteuert.”  (Trans: Most Rossini tenors cut their eyeteeth with the famous aria from the “Stabat Mater” and it has long ceased to excite.  Last-minute jump-in tenor MA sang the aria with operatic gusto even though it is not from an opera, infusing it with much vocal gentleness, not even straining for the High D-flat.” – Christian Knatz, www.echo-online.de, 6/28/15


“Il barbiere di Siviglia” with The Royal Opera House at Covent Garden 2014


“The latest leggero to make a splash is the photogenic American singer Michele Angelini, who gave an impressive account of Almaviva in his Royal Opera debut. His voice is gorgeously limpid and bright, his speed-demon technique dazzling in its accuracy, and his stage presence charming. […] his awe-inspiring account of that cruelly demanding final aria was still a show-shopper, and his pleasure at flinging out near-impossible passages of rat-a-tat fioratura was irresistibly enjoyable.” – Warwick Thompson, Opera Magazine UK, December 2014


“The revival of Barbiere at the Royal Opera threatened to be a routine revival of a classic staging but instead showcased […] Michele Angelini’s Almaviva who gave us singing of effortless virtuosity and elegance that promises what could very well be a major career.” – operatraveller.com, 12/26/14


“But Il barbiere di Siviglia at the ROH […] benefitted enormously from its brand new cast in the principal roles, especially the rich-voiced, sparky Serena Malfi, and the sui generis Heldenleggiero revelation that was Michele Angelini, both of whom can return as often as they like.” – operabritanniauk.wordpress.com, 12/31/14


“And above all, Michele Angelini delivered a virtuoso reading of Almaviva. But he has all, maybe more, of Florez' agility in scales and passage work, a very passable trill and he soars effortlessly above the stave – right up to a couple of top Ds, if I'm not mistaken. As Florez did when the production was new in 2009, he decorated the repeat of “Ecco ridente in cielo” excitingly. I think he also decorated “Se il mio nome” and the duet with Figaro in Act I more lavishly than did Florez, yet everything was stylish. The culmination was a staggering rendering of Almaviva's Act II aria. In 2009, Florez stopped the show for several minutes. Here, Angelini had to make do with an enthusiastic ovation, though he was in no way inferior. Such is the power of the fan club. A few years ago this aria was simply considered too difficult to include. Nowadays we have tenors who do it brilliantly and remind us that we are enjoying a golden age of Rossini tenor singing. Angelini is a worthy exponent of this tradition.” – Alan Jackson, bellininews.it, 10/10/14


“This gave space for the Rossini specialist, the Italian-American tenor, Michele Angelini, to ornament his arias - more than usually heard - with his supple pleasing voice. Angelini finished the evening by comfortably taking the literally show-stopping showpiece aria Cessa piu di resistere - so often cut out for the brake it puts on the drama, but now restored for the present showy generation of star Rossini tenors.” – George Smart, Harper’s Bazaar, 9/25/14


“Italian-American tenor Michele Angelini made an impressive Royal Opera debut as Count Almaviva. […] Mr. Angelini delivered an ardent ‘Ecco ridente in cielo’, the unforced lyricism of his tone lending itself aptly to the romantic yearning of his character. […] his warm, golden-hued timbre was beautiful and a constant pleasure to hear. He attacked the wide ranging coloratura of the part with gusto, and though he seemed to be flagging by the end of the evening, he nevertheless succeeded in scaling the heights of the often cut aria ‘Cessa di più resistere.’ It was a fine debut, and left one eager to hear his return to Covent Garden as Don Ottavio in a few months. Mr. Angelini’s characterisation was best during his scenes with Rosina when he could fully play the part of the impassioned young lover. Of particular note was his Act II dalliance as ‘Don Alonso’, in which he disguises himself in the same somber black cowl worn by Don Basilio as his replacement in teaching Rosina’s music lesson. His comically insistent refrain of ‘Pace e gioia’ to the curmudgeonly doctor could not but garner laughter.” – John E. de Wald, operabritanniauk.wordpress.com, 9/22/14


“Her Almaviva, Michele Angelini, another house debutant, made an even finer showing: in keeping with Malfi's characterisation, he brought more guilelessness to the role than his starry predecessor Juan Diego Flórez, fielding a beautiful, liquid lyric tenor that's perfectly even all the way to the easy top.” – Katherine Cooper, whatsonstage.com, 9/21/14


“Honorable mentions for Best Male Performance go to […] Michele Angelini in his ROH debut as Count Almaviva in Barbiere di Siviglia.” – nightsatthegarden.blogspot.com, 1/1/15


“Lucrezia Borgia” with Bel Canto at Caramoor 2014


“Michele Angelini (Gennaro) proved a very capable bel canto tenor, certainly showing the evening’s best command of text and tapered dynamics; he created a real, tensely haunted figure, entering and exiting in character.” – David Shengold, Opera Magazine UK, November 2014


“The tenor Michele Angelini brought lyricism and vigor to the part of Gennaro. Perhaps more than any other principal, he seemed to have internalized the Bel Canto style to such a degree that his utterances felt natural and discursive.” – Corinna da Fonseca-Wollheim, New York Times, 7/13/14


“I can only praise his performance as Gennaro, Lucrezia's illegitimate son. He is making quite a name for himself in the high, florid bel canto repertoire, and while I see the role of Gennaro as perhaps a bit beefier than the Elvinos and Lindoros for which Mr. Angelini has garnered much praise, he handled it with great ease.” – Taminophile.com, 7/13/14


"Don Giovanni" with The Royal Swedish Opera 2014


“…and the star, Michele Angelini as Don Ottavio: a true Italian (Italo-Americano) tenore di grazia, full throttle when needed but superbly elegant in ornamentation. His variations in the da capos of the arias – thank God we got them both – were a model of style which any tenors incapable of making their own should note.” – David Nice, I’ll Think of Something Later, Personal Blog, 4/4/14


“…a fantastic new Italian tenor named Michele Angelini. […] Angelini gave a brilliant performance of this famously thankless role. The tone was open and free, the intonation secure, the technique so solid that it enabled him to play with the musical line virtuosically. ‘Il mio tesoro’ rolled out of him like the easiest thing in the world, and as if its demands weren’t challenging enough, he embellished to add sparkle. […] when [Yana Kleyn] and Angelini sang their duettino at the opera’s conclusion, they almost made you think the whole performance was about them.” – doktorlehar, Parterre.com, 4/13/14


"Michele Angelini’s namby-pamby Don Ottavio (quite in line with the character) but singing with the utmost refinement, elegance and – in Il mio tesoro – passion: the ultimate explanation why the noble Donna Anna after all loved him.” – Göran Forsling, Seenandheard-International, 3/28/14


“Don Ottavio (an impressive tenor, Michele Angelini: Act II’s ‘Il mio tesoro’ was one of his several beautifully modulated contributions).” – Roderic Dunnett, Seenandheard-International, 3/23/14


“The scene where Don Giovanni picks up the mandolin to strike up his famously seductive serenade “Deh, vieni alla finestra” on an empty stage becomes the desolate elegy of an abandoned lover, sung in a voice threadbare with sadness.  As does Don Ottavio’s “Dalla sua pace,” which this faithful lover (elegant Michele Angelini) performs with gorgeous abandon, despite the fact that Donna Anna declares herself ‘not ready to commit.’” – Sofia Nyblom, Bachtrack, 3/17/14


“Utmärkta prestationer görs av Lutando Qave som infallsrik Leporello, den utpräglat lyriske tenoren Michele Angelini…”  (Trans: Excellent performances given by […] the distinctly lyrical tenor, MA) – Jan Kask, UNT.SE, 3/16/14


“Michele Angelini får ta ovanligt mycket plats som Don Ottavio med sin ljusa, fina tenor.”  (Trans: MA makes a larger-than-usual presence on stage as Don Ottavio with his bright, fine tenor.) – Bo Löfvendal, SVD.DE, 3/17/14


“Angelini är lysande i den krävande arian ”Il mio tesoro” då han ber vännerna stanna hos Donna Anna för att han själv skall förfölja Don Giovanni för att utkräva hämnd för kommendörens död. Don Ottavio är till slut en av vinnarna i detta spel."  (Trans: MA is brilliant in the demanding aria “Il mio Tesoro” when he asks his friends to stay with Donna Anna deciding that he himself will persecute Don Giovanni to avenge the Commendatore’s death.  Don Ottavio is ultimately one of the winners in this game.) – Sthig Jonasson, Sydnarkenytt.se, 3/20/14


“Den vanligtvis lite töntiga rollen som Don Ottavio blev här en gripande figure, fångad I sina känslor av kärlek, rädsla och hat. […] den mycket lyriska och naturliga tenoren Michele Angelini som Don Ottavio.”  (Trans: The usually cheesy, little role of Don Ottavio was here a poignant figure, caught up in the feelings of love, fear and hatred. […] the very lyrical and natural tenor of MA.) – Björn Ekblom, m.nlt.se, 3/24/14


Photo Credit: Rebecca Fay

Photo Credit: Rebecca Fay

Winners Concert, Opera Index Gala, NYC 2014


“Tenor Michele Angelini, fresh from his triumph in Florence, Italy is a proud Brooklynite. Angelini’s singing of “Ah! Mes amis” from Donizetti’s La Fille du Regiment with its nine treacherous high “C”s was sung with power, ease and elan. The audience devoured it like Junior’s cheesecake!” – Nino Pantano, brooklyneagle.com, 1/24/14


"Don Pasquale" with Manitoba Opera, Winnipeg 2013


“American tenor Michele Angelini’s chaps-wearing cowboy Ernesto enthralled right from his first aria “Mi fa il destino mendico.” In Act II’s“ Cercherò lontana terra” his golden voice floated even higher than the frothy bubbles in his bathtub.” – Holly Harris, operatoday.com, 12/30/13


"American tenor Michele Angelini's chaps-wearing cowboy Ernesto enthralled right from his first aria, his swoon-inducing voice filling the hall without showing any hint of strain.” – Holly Harris, Winnipeg Free Press, 11/25/13


"Michele Angelini has a clean and comely tenor voice well suited to the bland but kindly Ernesto.” – Al Rae, CBC News, 11/26/13


"Le jeune ténor américain Michele Angelini, qui fait ses débuts à l’Opéra du Manitoba, est un partenaire idéal pour Nikki Einfeld. Son interprétation de la sérénade Com’e gentil, au troisième acte, est saisissante, avec en arrière plan un groupe de mariachis qui apportent une touche d’humour à cet élan romantique. La voix est belle et jeune, il chante avec beaucoup d’émotion."  (Trans: The young American tenor, MA, making his debut, is an ideal partner for NE. His interpretation of the serenade ‘Com'è gentil’ in the 3rd act is striking, with a mariachi band in the background that brings a touch of humor to the romantic moment. His voice is beautiful and fresh and he sings with much emotion.) – Par Pierre Meunier, la-liberte.mb.ca, November 2013


Fire Island Pines Opera Festival, NY 2013


"Michele Angelini sang a ringing, suitably swaggering “Ah! Mes amis, quel jour de fête,” from Gaetano Donizetti’s “La Fille du Régiment,” complete with nine easy high Cs, and a fluently florid, pinging “L’espoir renaît dans mon âme,” often the province of mezzo-sopranos, but here rightly a tenor aria, from Christoph Willibald Gluck’s “Orphée et Eurydice,” with an elegant embellished second verse.” – Bruce-Michael Gelbert, qonstage.com, August 2013


"L'Italiana in Algeri" with The Atlanta Opera 2013


"Michele Angelini (Lindoro) has an exquisite tenor voice, highlighted in slower-paced arias.” – Stacey L. Evans, 4/26/13 "Comedic Opera Delights," Cobb Life


"The mounting of any production of “L’Italiana in Algeri” is always dependent on finding a tenor capable of surviving Lindoro’s exceptionally high tessitura. For the role’s stratospheric introductory aria, “Languir per una bella,” Michele Angelini excelled at negotiating high-lying rigours with little difficulty. The tall, handsome tenor brought to the part a lacrymose and lithe voice, which found its comfort zone in the higher regions of its scale. The sustained pressure at the top, culminating in high C, held no terrors whatsoever, so much so that the artist graced his song with even higher alternatives, propelling him to go up to the C sharp and high D options to dazzling effect. The ensuing cabaletta “Contenta quest’alma” brought with it an effortless display in florid singing, his accomplished scales and runs neatly produced and stylishly realized. These qualities were to become the hallmark of his work throughout the entire evening, qualifying him as the finest Rossinian in the entire cast.” – Daniel Vasquez, www.newoutpost.com, 5/2/13


"The dashing Michele Angelini, making his Atlanta Opera debut as Lindoro, probably could have slipped Mustafa’s grasp if he’d sung the aria “Languir per una bella” a few more times. The tenor role demands plenty of bel canto trills, arpeggios and roulades, which Angelini manages with exuberance and clear lyricism.” – Jamila Robinson, The Atlanta Journal-Constitution, 4/29/13


"La sonnambula" with Florida Grand Opera, Miami 2013


"The revival provided the opportunity to hear two young American artists, Georgia’s Rachele Gilmore as Amina and New York’s Michele Angelini as Elvino, in stunning performances that not only showed mastery of the Bellinian vocal style, but stratospheric upper ranges for both artists. Angelini astonished the audience with a high E flat, and Gilmore with an F above high C. [...] Even rarer than the coloratura soprano is a stylish Bellinian tenor. Angelini possesses a beautifully lyrical voice, easily large enough to fill the great American halls, with a tenor trill and his own extraordinary range above the tenor high C." – William’s Reviews, www.operawarhorses.com, 2/11/13


"His voice was a fantastic instrument. As with Bellini sopranos, to be a Bellini tenor a singer must have skills, and Angelini does! The coloratura was perfect and moved very well. I tensed at each high note, but Angelini scaled them easily. His upper range was full-bodied and supremely technical.” – Christie Connolley, Operagasm.com, 2/12/13


"Not only is this role vocally challenging with extremely florid passages and a large amount of repeated high notes, but it is especially challenging from an acting standpoint. Tenor Michele Angelini handles all of these challenges without a single stumble. Angelini’s voice is stunningly beautiful. He is a perfect example of a tenor leggiero. His high notes ring true and clearly and he handles the coloratura passages of the role with ease and lightness. He has classic Italian-American good looks and is a perfect complement to [Rachele] Gilmore’s Amina.” – Jack Gardner, www.edgeboston.com, 2/11/13


“We also got a tenor, Michele Angelini, who has the voice and looks of an opera matinee idol. Superb breath control, beautiful tone and a dramatic sensibility to make us feel Elvino's excitement in the first act and his deep grief of the second. Elvino's behavior might seem overly dramatic to today's theatre goers, though Angelini never condescended to the ridiculous, instead giving the opera more credibility than it may merit.” – Jeff Haller, concerto.net, February 2013


"También el tenor Michele Angelini, en el ingrato rol de Alvino [sic], posee una voz hermosísima que le ha ganado muchos éxitos y le augura brillante carrera. A pesar de que su papel es totalmente idiota (al extremo de que el público se ríe abiertamente de él) logró sacar merecidos aplausos y bravos por su excelente ejecución musical, con dos de pecho impecables."  (Trans: Also the tenor MA, in the thankless role of Elvino, has a beautiful voice that has earned much success and predicts a brilliant career. Although his role is utterly stupid – to the extent that the audience laughs openly of it – he managed to get deserved applause and bravos for his excellent musical performance, with two flawless chest-voiced High C's [E-flats, ed.]) – Daniel Fernandez, el Nuevo Herald, 2/12/13


"Fit and agile Michele Angelini brought the conflicted Elvino to the FGO stage, lending his fine tenor and securing a high "D" [also E-flat, ed.] in "Ah! perchè non posso odiarti," rejecting Amina while being unable to tear her image from his heart.” – Steve Gladstone, miamiartzine.com, 2/20/13


"[...]el tenor Michele Angelini aportó un delicado Elvino pleno de fuegos de artificios vocales y los temidos agudos que otros menos temerarios suprimen."  (Trans: The tenor MA presented a graceful Elvino full of vocal fireworks and dreaded high notes that others less bold would omit.) – Sebastien Spreng, Miami Clasica, 2/10/13


"Il barbiere di Siviglia" with The Royal Swedish Opera 2012


"Hela föreställningen var jättebra och tenoren Michele Angelini gör en jättefin insatts med många vackra höga toner (that’s how we like it)."  (Trans: The whole show was great and tenor MA makes a really nice performance inserted with many beautiful high notes – that’s how we like it.) – Kajsa Palmer, personal blog, 9/29/12


"Det är ett omdöme som fortfarande kan sägas vara gällande, men nu tycker jag nog att det känns som att jag särskilt vill framhålla att det var en stor upplevelse att få uppleva Michele Angelini dels därför att han sjöng och agerade sceniskt utamn att lämna något i övrigt att önska."  (Trans: There is an opinion that can still be said to be valid, but now I feel like I particularly want to emphasize how great it was to experience MA partly because he sang and acted leaving nothing to be desired.) – Morgans H Andersson, kulturbloggen.com, 9/28/12


“Själv blev jag stormförtjust i tenoren, som spelades av Michele Angelini, i rollen som Greve Almaviva.”  (Trans: Personally, I was thrilled at the tenor, played by MA, in the role of Count Almaviva.) – Maja Hurtigh, encohenhalvmeter.blogg.se, 9/15/12


"Le Roi Malgré Lui" with Bard Summerscape, Bard College 2012


“The great vocal find of the evening was the Nangis, Michele Angelini, who wielded a sweet, graceful tenor steeped in French style.” – Eric Myers, Opera Magazine UK, January 2013


"Even better: tenor Michele Angelini, who made the role of Nangis an exercise in stunning ability, soaring fearlessly over the orchestra and nailing some difficult top notes.” – Paul J. Pelkonen, paperblog.com, 7/24/12


"Best among the generally strong cast was Michele Angelini as the king’s sidekick, Nangis, his light tenor sailing nonchalantly up to high notes that seemed to go on forever.” – James Jordan, The New York Post/www.parterre.com, 7/31/12


"Michele Angelini and Andriana Chuchman who sing Nangis and Minka are the stars of the Bard production. Their performances beguile. Angelini has come to our attention recently at New York's Poisson Rouge, in the Gotham opera production of Il Sogno di Scipione of Mozart, and also a concert version of Moses and Pharaon at Carnegie. He is an arresting performer with a beautfiul voice. It is easy to see why he covers for Juan Diego Flores. We look forward to following what promises to be a major career.” – Susan Hall, berkshirefinearts.com, 7/29/12


"Michele Angelini was an elegant, insouciant Nangis, his smooth, youthful tenor clearly at home in French opera.” – Corinna da Fonseca-Wollheim, theclassicalreview.com, 7/28/12


"Michele Angelini sang the role of her lover, the somewhat feckless Nangis, with impressively consistent beauty of phrasing and tone.” – operaobsession.blogspot.com, 7/28/12


“With easy bright high notes, tenor Michele Angelini managed to bring sincere romantic feeling to Nangis.” – Eli Jacobson, gaycitynews.com, 8/15/12


"Angelini unfurled his silky tenor with ease and grace.” – Olivia Giovetti, WQXR Operavore, 7/30/12


"[...]and Michele Angelini, whose pretty tenor was ideal for Nangis.” – Heidi Waleson, The Wall Street Journal, 8/6/12


Photo Credit: Rebecca Fay

Photo Credit: Rebecca Fay

Gerda Lissner Vocal Competition Winners Concert, NYC 2012


"Tenor MICHELE ANGELINI brought lovely tone and fearless presence to Ramiro's great show-off aria from La Cenerentola.” – Opera News, July 2012


“Tenor Michele Angelini, a first prize winner thrilled us with “Si, ritrovarla, iogiuro” from La Cenerentola by Rossini. His tornadic trills and flourishes and quicksilver ascents to high C and above was with ease and power and enough “frisson” to make it a visceral as well as a technical thrill.” – Nino Pantano, Opera-L, 5/29/12


"Yet more delicious Italian (yes, when it SOUNDS good, it TASTES good!) came from tenor Michele Angelini, also a First Prize winner, who cut a princely figure in "Si, ritrovarla, io giuro" from Rossini's La Cenerentola. We especially appreciated the expressive way he used the fioritura in the cabaletta.” – Meche Croop, vocedimeche.blogspot.com, 5/24/12


"Il sogno di Scipione" with Gotham Chamber Opera, NYC 2012


"Mr. Angelini is the major vocal discovery here, a flexible lyric tenor with an agile portamento and a pleasing, rounded low end. His sky-scraping final aria "Di che si l'arbitra'" was a heroic, compelling vocal workout, all the more so since the singer dressed himself, complete with tying a tie in a full Windsor knot without dropping a note.” – Paul Pelkonen, super-conductor.blogspot.com, 4/12/12


“Michele Angelini sang Scipione’s heroic and florid music with a fabulously complete voice. His high notes, C and above, rang out with a dark, burnished color. Quite a change from the nasality most high tenors rely on, sacrificing color.” – Steven Jude Tietjen, www.operapulse.com, 4/20/12


"The object of all this persuasion was the Scipione of Michele Angelini. He was announced as getting over a sinus infection, but still sang with remarkable agility and power. Scipione's opening aria, "Risolver non osa confusa," is a concoction of runs and trills remarkable for its audacity, but Angelini brought it off with apparent confidence. His characterization of Scipione's journey towards self-confidence was nicely done, and his "Dì che sei l'arbitra" handled as a transformative moment.” – operaobsession.blogspot.com, 4/21/12


"Tenor Michele Angelini was also a knockout as the eponymous hero; he has a lovely sound and an effortless way with phrasing.” – Meche Croop, vocedimeche.blogspot.com, 4/16/12


"The title character was vividly portrayed by Mr. Angelini whose tenor had many darker baritone colors, making the agility in his runs, cadenzas and trills all the more remarkable. He tore down the house in his final aria, “Di che sei l’arbitra,” where he made his choice and explains it in nearly five minutes of rousing coloratura.” – Joel Benjamin, theaterscene.net, 4/13/12


“Tenor Michele Angelini bookended the show with rousing bravura numbers depicting Scipione’s determination. In his closing aria, he juggled trills and high C’s while tying a necktie — a task many guys find challenging even without singing.” – James Jorden, The New York Post, 4/13/12


“Angelini possesses a baritonal tenor, an agreeable sound of masculine depth and a happy instinct for phrasing, plus an easy extension to an agreeable lyric top. One foresees enjoying him as Idomeneo or Belmonte.” – John Yohalem, operatoday.com, 4/19/12


“As the earnest Scipione, Michele Angelini produced a gleaming voice of notable size and purity. His confidence in fioratura rivaled some of today’s best-known tenors.” – Ronni Reich, nj.com, 4/13/12


“Michele Angeini, who triumphed in his difficult coloratura roulades.” – Richard Traubner, MusicalCriticism.com, 4/30/12


"That would be the Roman consul-elect Scipione Africanus (forceful, indefatigable Michele Angelini), transported to a dream realm where he must choose between the flighty, imperious goddess Fortuna (Susannah Biller) and her antithesis, Constanza (Marie-Ève Munger), here depicted as a down-to-earth yogini.” – Sandy MacDonald, artsamerica.org, 4/16/12


“Il viaggio a Reims” with Maggio Musicale Fiorentino, Florence 2012


“Il giovane Michele Angelini riesce a non farsi sopraffare dalla folle scrittura di Libenskof, ed è già un gran merito. Si ammira l'estensione e la propensione al canto di agilità.”  (Trans: The young MA manages to avoid being overwhelmed by the crazy vocal writing of Libenskof, and this is already a great merit. One must admire his vocal extension and his propensity for agility in his singing.) – Silvano Capecchi, OperaClick.com, 1/21/12


“Moïse et Pharaon” with The Collegiate Chorale, Carnegie Hall, NYC 2011


“As his brother Eliézer, the young lyric tenor Michele Angelini poured out refined, unforced tone.” – Eric Myers, Opera Magazine UK, March 2012


“Michele Angelini (Éliézer, Anaï's father) disclosed an accomplished, attractive light bel cantotenor that deserves wider exposure.” – David Shengold, Opera News, 2/11/12


“But the second tenor, Michele Angelini, impressed me even more with his lithe, flexible voice and ringing tone.” – Arlene Judith Klotzko, concerto.net, 11/30/11


“Michele Angelini made a strong impression in the smaller role of Moses' brother Eliézer, offering handsome tone, excellent agility, and strength in all vocal registers.” – David Laviska, musicalcriticism.com, 12/9/11


“Tenor Michele Angelini lent his clear, Italianate sound to the role of Eliezer.” – Oberon’s Grove Blog, 11/30/11


Concert for Gotham Chamber Opera, Le Poisson Rouge, NYC 2011


"Angelini performing an aria from Il Sogno di Scipione sang the challenging lines with beauty. He will be seen in Gotham's full production of this opera, composed by Mozart at fifteen, this spring. Angelini is a Rossini specialist as well and is on the roster at the Met. He is a wonderful lyric tenor, who takes the most seemingly difficult runs and ornaments as though they were easy.” – Susan Hall, www.berkshirefinearts.com, 10/15/11


"Don Giovanni" with Savonlinna Opera Festival 2011


"Michele Angelini laulaa Don Ottavion aariat linjakkaan elegantisti kauniilla ja kantavalla lyyrisellä tenorillaan ja näyttää moraaliltaan nuhteettomalta nuorelta aatelismieheltä."  (Trans: MA sings Don Ottavio's arias with a flowing elegance in his beautifully sleek and carrying lyrical tenor as the blameless nobleman.) – Helsingen Sanomat, www.hs.fi, 7/3/11


"Michele Angelini tenori Don Ottaviona halkoi kivistä tilaa upeana. Äänessä on kaunis ja kiinteä sointi, se liikkuu vuolaana ja notkeana vailla kireyttä. Puhdasmielinen roolihahmo."  (Trans: MA's tenor, as Don Ottavio sliced through the stones achingly in the stunning space. His voice is beautiful and has a solid sound, it moves gushingly supple and free of tension. A well-chosen role.) – Matti Saurama, www.demari.fi, 7/6/11


"Viime kesän Oopperalaulukilpailun voittaja Michele Angelini näytti, että voitto meni oikeaan osoitteeseen. Angelinin kevyt, yläsävelpitoinen ääni helkkyy luontevasti, intonaatio on täydellistä, kuviot pulppuavat kultaisina ryöppyinä."  (Trans: “MA, last summer's winner of the Savonlinna International Singing Competition, showed that the competition was won by the right person. MA's sweet voice rich with high notes resonates naturally, the intonation is perfect, motifs spring up like golden torrents.” – Musical America) – Riitta-Leena Lempinen-Vesa, Itä-Savo, 7/2/11


"Michele Angelini saa tenorinsa soimaan kauniisti ja onnistuu äänellisestikin luomaan hahmostaan ylevän aatelismiehen, joka pitää maalliset intohimonsa lähes kurissa."  (Trans: MA tenor sings beautifully and manages to create in a vocally audible manner a virtuous nobleman, who keeps his earthly passions in check.) – Jussi Mattila, www.savonsanomat.fi, 7/3/11


"La cenerentola" with Opera Colorado 2011


"Michele Angelini as Prince Ramino was striking. His power and versatility were impressive, particularly so for a young man. In the second act, "Si, ritrovarla io guiro" is when the Prince declares he will no longer be disguised and will find his love. The amount of sound he is able to produce is stunning. He has quite a career ahead of him.” – Chip Michael, "Interchanging Idioms," Blog, 5/1/11


Savonlinna Opera Festival International Singing Competition 2010


“Ainoa, joka jatkoi finaalin alussakin samaa kovaa tasoa kuin alkukilpailuissa, oli amerikkalaistenori Michele Angelini. Hän onnistui jokaisessa aariassaan, luonnollinen, ylä-äänirikas ääni toimi kuin unelma. Varsinkin Rykmentin tyttären Tonion legendaarinen aaria vakuutti: joukko kuuluisia korkeita C-ääniä lähti kuin tuosta vain, ponnistamatta. Angelinin laulu on vaivatonta ja varmaa, korkeita ääniä ei tarvitse pinnistää eikä puskea. Ne vain tulevat. Angelinin fakki tarjoaa laulettavaksi korkeita ja kepeitä taiturikappaleita, joissa kiivetään hyvin korkealle, mutta jotka eivät herätä suuria tunteita. Sen sijaan Elena Gusevan pehmeänvahva sopraano sopii traagisille, suomalaisia koskettaville suurille linjoille, ja niinpä yleisö rakastui Gusevaan.”  (Trans: The only one who continued the high level seen on the preliminary rounds was the American tenor MA. He succeeded in his every aria, his natural, rich high register voice worked like a dream. Especially his Tonio's legendary aria from ‘La Fille du Régiment’ was convincing: the number of famous high C’s came easily, without pushing.  MA’s singing is effortless and secure without a need to push or persuade high notes; they just come.  MA’s type of voice offers its singer with high and airy yet demanding arias, which reach incredible heights. – Riitta-Leena Lempinen-Vesa, Itä-Savo, 7/27/10


“Toinen ensimmäisen palkinnon saaja oli Amerikassa syntynyt Michele Angelini, tenori - velikulta, jonka korkeat c-sävelet syttyivät heleinä huutamatta ja niin helpon tuntuisesti, että moni kadehti. Erinomainen koomikko.”  (Trans: The other winner of the first prize was American born MA, tenor – my goodness, whose high C’s were lit up cheerfully without yelling and appeared so easy that many will envy. Excellent comic artist.) – Rainer Palas, Aamulehti, 7/27/10


“Yhdysvaltalainen Michele Angelinin tenorin ylärekisteri lähtee varmasti, ääni soi melko vaivattoman oloisena. Tällä hetkellä tekniikka toimii ja materiaali on verrattoman hieno.”  (Trans: American tenor MA’s high register is secure and his voice rings quite effortlessly. At this moment his technique is working and his material is quite wonderful.) – Jussi Mattila, Savon Sanomat, 7/27/10


“Angelinilla on kepeä ääni, joka riittää mihin vaan.”  (Trans: Angelini has a nimble voice that can do anything.) – Reetta Ravi STT, Länsi-Savo, 7/24/10


“Yhdysvaltalainen Michele Angelini vakuutti jo ensimmäisillä äänillään: kerrassaan hieno laulaja. Kas vain: tenorilaulu onkin valtavan helppoa, ääni pulppuaa kuin itsestään, se kuvioi kevyesti vauhtia kaihtamatta, luo herkkiä linjoja, katoaa välillä ja paisuu jälleen, yltääkin kuinka korkealla hyvänsä. Vaivatonta, sävykästä, mukaansa tempaavaa. Toki Angelinin ansioluettelokin on jo melkoinen, mies on laulanut jo Metropolitan-oopperassa. Tämän bel canto –taiturin Donizettia ja Rossinia on hauska asettua kuuntelemaan finaalissa. Luvassa lisää kultasävyistä sävelryöppyä.”  (Trans: MA (from USA) convinced everyone from the first notes onward: what a wonderful singer. Why, only that: the tenor’s singing can be extremely easy, the voice gushes out of him as by itself, he forms fioratura patterns lightly without being afraid of speed, he creates gentle lines which fade and strengthen again, reaching incredible heights.  Effortless, rich in tone, riveting. Surely MA has quite a resume, he has sung  already at the Metropolitan Opera. It will be fun to listen to Donizetti and Rossini by this bel canto whiz at the finals. We can expect more gusts of gold-lined tunes.) – Riitta-Leena Lempinen-Vesa, Itä-Savo, 7/23/10


"La cenerentola" with Fort Worth Opera 2009


"The words "Rossini tenor" too often presage pinched, penetrating sounds. But Michele Angelini, as a handsome Prince Ramiro, displays a voice of silken loveliness as well as graceful agility.” – Scott Cantrell, Opera News and The Dallas Morning News, 26/4/09


"Isabel Leonard and Michele Angelini lead the way as Cinderella and her Prince Charming, impressively handling Rossini’s florid vocal lines with voices that are as attractive as they are flexible.” – Olin Chism, KERA Arts & Seek Internet Blog, 2/5/09


“Prince Ramiro/Michele Angelini is a dreamy prince charming with a magnificent vocal range.” – Lorene Herrera, "She Wants to Find Frankenstein" Blog, 29/4/09


"La cenerentola" with Austin Lyric Opera 2008


"[...]the sold-out house was treated to New York's Michele Angelini lending his rich and powerful tenor to the role of Don Ramiro.” – Barry Pineo, The Austin Chronicle, 11/14/08


"As Ramiro, Michele Angelini’s light tenor was agile, princely, and expressive.” – David Meade, Austin Arts, Austin American Statesmen, www.Austin360.com, 11/10/08


"Michele Angelini, however, is the best Rossini tenor (much more difficult than a Verdi tenor) I've heard, bar none. I would go anywhere to hear him again.” – William Allin Storrer, Letter to the Editor of Austin American Statesmen, 11/29/08


“La cenerentola” with Connecticut Opera 2008


"[...]an operatic thoroughbred of scarce variety: Michele Angelini, a true coloratura tenor. In the role of Ramiro, his expressions of romantic ardor and resolve were even more ornate than his beloved's. Traditionally, bel canto ornament is often unwritten and sometimes improvised in the moment; Angelini's fearless, stratospheric interpolations had me wishing I'd brought a score to check his keys. I believe that, in addition to high b-flats, he treated us to two c's [six, ed.] and a d-natural. Many fans of this repertoire believe a hard and fast rule about tenors: the more flexible the voice, the harsher yet lighter its sound. Angelini seems to have found a sweet spot, with an attractive tone that is light but not wiry. He can produce cascades of ornament and even trill, and he looks like a leading man. If he sounds equally good in larger, less acoustically flattering settings than the Belding, his calendar should fill up fast.” – Michael Clive, The Republican-American, 3/12/08


"Judas Maccabeus" with Los Angeles Opera 2008


"What made the evening really worthwhile was discovering tenor Michele Angelini, making his company debut singing the title role. From his first notes, he was galvanizing with a ringing tenor voice, excellent diction and an ability to sail effortlessly through the tricky trills that Handel always embeds in his solo parts, whether oratorio or opera. Angelini is a real find; LAO General Director Placido Domingo should sign him for future seasons before the word gets out.” – Robert D. Thomas, classact.typepad.com, 1/27/08


"Michele Angelini made a heroic Judas.” – Chris Pasles, LA Times, 1/28/08


"L'italiana in Algeri" with Il Teatro Comunale di Bologna 2007


"Il tenore Michele Angelini canta in modo corretto, sgranando con dovizia il virtuosismo di ogni passaggio puramente belcantistico."  (Trans: The tenor MA sings in a correct mode, pouring forth with virtuosic abundance in every purely bel-cantistic passage.) – Filippo Tadolini, operaclick.com, 5/8/07


"Frühlings Erwachen" with Théâtre Royal de la Monnaie 2007


"Il momento magico (con una vaga evocazione del barocco) avviene all'inizio del secondo atto, complice il magnifico testo, dove sono presenti tanta paura, solitudine e desiderio nell'evocazione dell'adolescente che alla fine dell'opera ritrovera' la sua vera identita' sessuale in un momento di grande tenerezza e rispetto: superlativo lo Hänschen di Michele Angelini."  (Trans: The most magical moment (with a beautiful evocation of the Baroque) came at the beginning of the 2nd act, accompliced to the magnificent text, where are presented fear, loneliness, and desire in the evocation of adolescence such that at the end of the opera he will find his true sexual identity in a moment of great tenderness and respect: the superb Hänschen of MA.) – Jorge Binaghi, L'Opera, p 63, Anno XXI N.215 Aprile 2007


"Die Wirkung dieser Szene verdankte sich freilich auch der darstellerischen Intensität von Michele Angelini in der Nebenrolle des Hänschen."  (Trans: "The effectiveness of this scene was not least in thanks to the intensive potrayal of MA in the supporting role of Hänschen.") – Max Nyffeler, Frankfurter Allgemeine Zeitung, 3/16/07


"Otello" (Rossini) with Opera Orchestra of New York 2007


"I heard this young singer a couple of nights ago in the role of Rodrigo, in Rossini's Otello. He sang one aria as part of a program. He is a wonderful lyric tenor who took on those Rossini runs and ornaments with apparent ease. Has anyone else had the pleasure? Hearing the beauty and skill of this singer's voice literally took me out of my seat. The word "star" could not be surpressed, and I imposed it on friends in the immediate vicinity.” – Adrienne Fischer, Opera-L, 1/12/07


"Il barbiere di Siviglia" with The Academy of Vocal Arts 2006


"But the surprise vocal standout of the evening was Michele Angelini, in the role of Count Almaviva. This first-year student has some experience to gain in matters of vocal control and stagecraft, but his natural gifts are extraordinary. His tonal luster and easy legato are the markings of true lyric tenor. It should be a great pleasure to follow this important talent in his continuing years at AVA.” – Peter Burwasser, CityPaper.net, 11/21/06


"Eugene Onegin" with The Academy of Vocal Arts 2006


"Another tenor, Michele Angelini, left his mark on Monsieur Triquet's French aria in the ball scene. Triquet's couplets usually are dispatched by an aging character tenor.  Angelini, however, spun the music out in a stream of lovely sound.” – Robert Baxter, CourierPostOnline, 12/12/06


"Il viaggio a Reims" with Rossini Opera Festival 2006


"Michele ANGELINI/Libenskopf (sic) hat eine sehr schöne Stimme"  (Trans: MA has a very beautiful voice) – Der Neue Merker, August 2006



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