With a voice that has been described as "pure, lovely, vibrant, truthful, and lustrous," Claire Vangelisti has found success on both national and international stages, singing repertoire from Bach to Berg. In 1998, her international debut was well received in Lisbon, Portugal at the Centro Cultural de Belém where she presented a solo recital of Twentieth Century American Music. Invited to return to Lisbon in 1999, Ms. Vangelisti performed an additional solo recital, and also toured as concert soloist with the Orchestra Filarmonia das Beiras under the baton of Osvaldo Ferrierra, where her renderings of Mozart arias were well-received.

Vangelisti made her American operatic debut with Austin Opera, where she performed several cameo roles in mainstage productions such as Rigoletto, The Ballad of Baby Doe, as well as the role of Papagena in Die Zauberflöte. Vangelisti has performed with the Lyric Opera of San Antonio, Southwest Opera, and Louisiana Opera, and has sung the roles of The Governess in The Turn of the Screw, Fiordiligi in Cosí fan tutte, Rosalinde in Die Fledermaus, Gianetta in L'Elisir d'amore, Gilda in Rigoletto, Sadie in Slow Dusk, Mimí in La bohÁ¨me, Nedda in I Pagliacci, Rosina in Il barbiere di Siviglia, and 1st Lady in Die Zauberflöte. Vangelisti has also performed concert versions/partial roles of Violetta in La traviata, Lucia in Lucia di Lammermoor, Musetta in La bohÁ¨me, Euridice in Orfeo ed Euridice, Markenka in The Bartered Bride, Cunegunda in Candide, to name a few.

Vangelisti's stage versatility has also led her to perform several operetta roles with the Gilbert and Sullivan Society of Austin: Lady Ella in Patience, Josephine in H.M.S. Pinafore, Gianetta in The Gondoliers, and Mabel in The Pirates of Penzance. Vangelisti's Mabel won a B. Iden Payne Award for “Best Actress in a Musical” as well as a nomination for “Best Actress in a Musical,” Austin Critics Table Award. Vangelisti has ventured into the Classical Musical Theater genre, singing the roles of Marsinah in Kismet, Marian Paroo in The Music Man, and the partial role of Carrie in Carousel.

Vangelisti has been engaged extensively as a concert soloist in works such as Mozart's Great Mass in C Minor, Requiem, Solemn Vespers, Mass in C Major, and Regina Coeli, as well as Handel's Judas Maccabaeus and Messiah, Haydn's Lord Nelson Mass and Missa in tempori belli, Honegger's King David, Charpentier's Te Deum, Schubert's Mass No. 2 in G Major, Bach's Magnificat, Mass in B Minor, and St. Mark Passion, Vivaldi's Gloria, Monteverdi's Vespro Della Beata Vergine, Jommelli's Requiem, Poulenc's Gloria, Vaughan Williams' Hodie, Fauré's Requiem, and Beethoven's Symphony No. 9. Vangelisti has performed in concert with The Round Top Festival Institute, Texas Chamber Consort, Austin Civic Chorus and Orchestra, Temple Civic Chorus, Temple Symphony Orchestra, Laredo Philharmonic Orchestra, Austin Summer Choral Symposium, San Gabriel Chorale and Orchestra, Capital City Men's Chorus, Austin Symphonic Band, Monroe Symphony, Central Louisiana Masterworks Chorus and Orchestra, and the Austin Chamber Ensemble.

Vangelisti is an avid champion of the music of living composers, and performed the World Premiere of Letting Go, a song cycle by composer Daron Hagen, in the Fall of 2002. In in 2013, Vangelisti performed the American Premiere of two song cycles by Portuguese composer Eurico Carrapatoso, and she continues to disperse Carrapatoso's music to the U.S. audience. She has also collaborated with artists such as Libby Larsen, John Harbison, Daron Hagen, Lowell Liebermann, William Bolcom, Frank Ticheli, Stephen Paulus, Jake Hegge, and Eric Ewazen.

Vangelisti holds a Doctorate of Musical Arts from the University of Texas at Austin and is currently Associate Professor and Voice Program Coordinator at the University of Louisiana at Monroe:
http://www.ulm.edu/music/facultystaff.html.