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. 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 ZauberflÁ¶te. Vangelisti has performed with companies such as the Lyric Opera of San Antonio, Southwest Opera, and Louisiana Opera to name a few.
Vangelisti has been engaged extensively as a concert soloist and 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.
Soprano Claire Vangelisti was clearly in control of the most challenging of the four parts...
Miss Vangelisti distinguished herself as the premiere female voice of the Opera Gala...a voice lissome, light and fragrant as a glass of Beaujolais. Her very spare theatrical gestures were communicated without ostentation; the perfect dangerous coquette in short; the kind who would sing the infamous "Batti, batti" like a waif...But there is a bit more at work here in Miss Vangelisti's appeal. Her
As far as the lovebirds go, we felt that Claire Vangelisti's strong voice (and oh, those high notes she hits dead on) was brilliant.
The quartet of soloists...was well chosen, with an especially impressive showing from Vangelisti.
I am so very, very happy to hear that you are going to do DEAR YOUTH again. Whan an excellent message to be putting into the world at this time. I always love to hear your performances: what a vibrant, truthful voice you have.
Statuesque and confident, Miss Vangelisti delivered long lines of music without faltering, and with such concentration that...the entire audience gradually became enthralled. When she finished no one made a sound or even shifted in their chair.
Thank you for a splendid performance of Try Me, Good King last Tuesday . . . it was a joy to hear the piece performed with such spirit and beauty, and I'm grateful for the care you took with my music.
Vangelisti was at her best in this ("La flute invisible" by Camille Saint-Saens) and Marcel Tournier's "La Lettre du Jardinier." Her cool, finely focused voice flowed nicely with the french vowels and elegant phrases.
As Mabel, Sullivan's version of the bel canto heroine, Claire Vangelisti offered poise and a voice both feminine and brilliant. She brought off the coloratura passages and provided a nearly perfect match to this role.
The exposed high notes (in 'Et incarnatus est') were placed with great skill.
...Marsinah, (sung by) lustrous-voiced Claire Vangelisti, is smitten with a young man she things is a gardner but is really the caliph...
Vangelisti's beautiful rendering of Josephine tenderly laid out the romantic knot that is forever at the center of Gilbert and Sullivan operas.
Claire Vangelisti is winningly demure and charminly troubled by her dilemma. At the end of our solo 'The hours creep on apace,' Vangelisti's voice carves an operatic arc of angquish in the air that is pure and lovely.
Claire Vangelisti served Josephine well with an absolutely gorgeous, classically trained soprano. She showed great range, beautiful highs and lows.
Soprano Claire Vangelisti was touchingly expressive.
I am thrilled with the performance of "Asphodel". Claire Vangelisti is quite wonderful.