Michele Angelini

“The singers were very good, too, led by a really first rate Count from young American tenor Michele Angelini. He has a light voice that suits the orchestral palette well, but it’s brilliantly agile, allowing him to negotiate the coloratura with real flair, as well as managing his regular leaps into the stratosphere with dashing aplomb.”
Simon Thompson, Seen and Heard

© Rebecca Fay


Italian-American tenor Michele Angelini made his European debut at the Rossini Opera Festival in Pesaro as Count Libenskof in Il viaggio a Reims and sang the part of Hänschen Rilow in the world premiere of Benoit Mernier’s opera Frühlings Erwachen at Theatre Royal de la Monnaie, Brussels, which was also released on the Cypress Records Label.

In the 18/19 season, highlights include a return to Staatsoper Berlin for performances of Il Barbiere di Siviglia; performances of Rossini’s Stabat Mater conducted by Gianandrea Noseda with the National Symphony Orchestra at the Kennedy Center, Washington DC and Carnegie Hall New York and his house debuts at the Bolshoi Theatre Moscow in Il viaggio a Reims, and at Teatro Petruzelli, Bari as Argirio in Tancredi. He will take part in the AIDS Galas in Berlin and Bonn and sing Barbiere in concert in Bremen’s Die Glocke with Jérémie Rhorer. Looking ahead Michele will give his house debuts at the Glyndebourne Festival Opera and Tokyo’s New National Theatre.

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    02 Feb 20 Rossini Semiramide
    Het Concertgebouw

    “Deze Armeense mezzo was niet minder dan een spectaculaire revelatie. Net als tenor Michele Angelini (Idreno). Zijn grote aria in de eerste akte komt pas als die al een uur onderweg is. En eerlijk gezegd zakt de spanning dan gewoonlijk wat weg, maar Angelini zorgde daar voor het hoogtepunt van de middag. Met soepele stratosferische tonen zong hij met gemak het dak eraf.”

    “This Armenian mezzo was nothing short of a spectacular revelation. Just so was tenor Michele Angelini. His big aria in the first act doesn’t come until after an hour into the opera and frankly the tension normally drops at that moment, but Angelini provided the high point of the afternoon here. With supple stratospheric tones he blew the roof off with ease.”

    Peter van der Lint, Trouw, 2nd February 2020

    “De verrassing van de middag kwam van Michele Angelini als Idreno. In de opera een randfiguur, maar voor een complete uitvoering een hondsmoeilijke rol, die om een topzanger vraagt. Angelini heeft een hemels stemgeluid, met eveneens een onberispelijke coloratuurtechniek en een zeldzame vaardigheid om zeer geleidelijk zijn stem van zijn borstregister naar zijn falsetregister te transporteren. Een fenomenale stem, die een glorieuze carrière tegemoet gaat.”

    “The surprise of the afternoon came from Michele Angelini as Idreno. In the opera he is a peripheral figure, but for a complete performance a doggedly-difficult role, which requires a top singer. Angelini has a heavenly voice, also with an impeccable coloring technique and a rare skill to very gradually transport his voice from his chest register to his highest register. A phenomenal voice that faces a glorious career.”

    Lennaert Van Anke, Opera Magazine, 4th February 2020

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    19 Oct 19 ROSSINI La Cenerentola
    Seattle Opera

    “Her prince, Michele Angelini, is a bright and agile tenor with more high Cs than a pirate movie, and he was an ardent, engaging suitor for this Cinderella. His upper range, extending even beyond the high Cs, overlapped the mezzo-soprano register to beautiful effect in their duets. This prince and servant girl made a convincing couple, both musically and dramatically.”
    Melinda Bargreen, Seattle Times, 21 October 2019

    “Michele Angelini (of the Brooklyn Angelinis) is the Rossini-tenor version of a Bari-hunk: he has a puckish smile, ease of movement, and technique so fast and fluent that it’s easy to believe the rumor that he has long been the go-to tenor to cover for Juan Diego Flórez.”
    Roger Downey, Opera Today, 28 October 2019

    “Michele Angelini’s tenor was light and lithe, easy and even, with presence and panache. His coloratura high-jinks were thrilling and tossed off with such apparent ease as to belie the solid technique that made then possible.

    Though a classic leggiero tenor, he summoned plenty of vocal gusto for “Sì, ritrovarla io giuro,” his big aria in Act two, reveling in its many joyous high notes. Angelini was as tall, dark, and handsome as one imagines a fairytale prince could be, yet came across as the charming guy next door.”
    John Carroll, Opera Wire, 31 October 2019

    “Michele Angelini (Principe Ramiro) fa il suo debutto a Seattle dopo un percorso internazionale che lo ha portato anche in Italia al Teatro dell’Opera di Roma. Voce chiara, con acuti pieni e squillanti, coniuga momenti di lirismo a un buon canto sillabato.”

    [Translated] “Michele Angelini (Principe Ramiro) makes his debut in Seattle after an international journey that also took him to Italy to the Teatro dell’Opera di Roma. Clear voice, with full and ringing high notes, it combines moments of lyricism with a good syllable song.”
    Viviana Coppo, Opera Click, 19 October 2019

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    21 Jul 19 ROSSINI Matilde di Shabran
    Rossini in Wildbad

    “With convincing intensity, he portrayed the unpleasant boss, who is feared by all and has only confidence in his family doctor, and shines with strong a tenor, which has large volume in the middle position and also masters the high notes without force. At the end of the second act, he puts on his great aria, “Anima mia, Matilde,” when he decides to follow the wrongly cast out lover to his death.”

    Thomas Molke, Online Musik Magazine

    “Il tenore Michele Angelini ha voce e physique du rôle per restituire gli accenti scorbutici del protagonista. Dispiega voce grande e sicura, anche nei passaggi più ardui come la grande aria alla fine del secondo atto, affrontata con virile energia interpretativa, e si fa apprezzare per la recitazione.”

    [Translated] “The tenor Michele Angelini has vocals and physique du rôleto return the scorbutic accents of the protagonist. He deploys a large and confident voice, even in the most arduous passages like the big air at the end of the second act, faced with virile interpretative energy, and is appreciated for acting.”
    Stefano L. Borgioli, Teatro Online, 07 August 2019

    “Le ténor Michele Angelini est une très heureuse découverte en Corradino. Il exécute avec bravoure les impossibles traits d’agilité de son air d’entrée, aux écarts vertigineux et cadences extrêmement rapides, en ajoutant quelques suraigus en variations dans ses reprises.”

    [Translated] “Tenor Michele Angelini is a very happy discovery in Corradino. He performs with bravery the impossible agility traits of his air of entry, with vertiginous differences and extremely rapid cadences, adding some superacute variations in his covers.”
    Irma Foletti, Anaclase, 27 July 2019

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    25 Oct 18 ROSSINI Tancredi
    Teatro Petruzzelli di Bari

    “Di grande livello la prova del tenore Michele Angelini nella parte di Argirio. Voce lirico leggera in possesso di un’ottima tecnica, si è imposto grazie ad un fraseggio sempre stilisticamente elegante e ricco di chiaroscuri, sfoggiando al contempo un registro acuto formidabile.”

    [Translated] “The test of the tenor Michele Angelini in the part of Argirio is of great level. A light lyrical voice in possession of an excellent technique, it has established itself thanks to a phrasing that is always stylistically elegant and rich in chiaroscuro, showing off at the same time a formidable high register.”
    Eraldo Martucci, Opera Click, 24 October 2019

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    07 Aug 18 ROSSINI Il barbiere di Siviglia
    Edinburgh International Festival

    “Not only is Michele Angelini’s voice technically astonishing, with breath control that can induce its own sharp intakes of breath from the audience, but also his Almaviva is spritely and cheerful, and a warm central character.”
    Tim Bano, The Stage

    “Michele Angelini’s performance as Count Almaviva combines vocal gymnastics with easeful portrayal of the conniving aristocrat.”
    Ken Walton, The Scotsman

    “Making an already good production special was American tenor Michele Angelini as Count Almaviva, his ringing classical Italinate tone cutting right across the orchestra, clear as a bell and making it all look easy. He threw himself wholeheartedly into the role of many disguises, memorably as the drunken soldier climbing up a ladder out of the orchestra pit in steel blue and black army camouflage and shades.”
    David Smythe, Bachtrack

    “Michele Angelini’s Count Almaviva is a young man, with a young man’s voice, at times of great sweetness. His top notes are exuberant shouts of joy, of glee even.”
    Catriona Graham, Opera Critic

    “The singers were very good, too, led by a really first rate Count from young American tenor Michele Angelini. He has a light voice that suits the orchestral palette well, but it’s brilliantly agile, allowing him to negotiate the coloratura with real flair, as well as managing his regular leaps into the stratosphere with dashing aplomb.”
    Simon Thompson, Seen and Heard


Elvino – La sonnambula
Arturo – I puritani*
Tebaldo – I Capuleti e i Montecchi*

Iopas – Les Troyens

Nadir – Les pêcheurs de perles

Nangis – Le roi malgré lui

Ernesto – Don Pasquale
Tonio – La fille du régiment
Gennaro – Lucrezia Borgia
Percy – Anna Bolena
Nemorino – L’elisir d’amore*

Orphée – Orphée et Eurydice
Lubin – L’arbre enchantée

Léopold – La Juive*

Judas – Judas Maccabeus
The Messiah
Grimoaldo – Rodelinda

Gernando – L’isola disabitata
The Great Organ Mass

Nicias – Thaïs

Hänschen Rilow – Frühlings Erwachen

Ferrando – Così fan tutte
Don Ottavio – Don Giovanni
Scipio – Il sogno di Scipione
Belmonte – Die Entführung aus dem Serail
Tamino – Die Zauberflöte*
The Little Organ Mass

Soloist – Carmina Burana

Rinaldo – Armida
Conte Almaviva – Il barbiere di Siviglia
Don Ramiro – La cenerentola
Uberto/Giocomo V – La donna del lago
Giannetto – La gazza ladra
Ruodi (Pêcheur) – Guillaume Tell
Lindoro – L’italiana in Algeri
Aménophis – Moïse et Pharaon
Osiride – Mosè in Egitto
Rodrigo – Otello
Idreno – Semiramide
Argirio – Tancredi
Don Narciso – Il turco in Italia
Conte di Libenskof – Il viaggio a Reims
Stabat Mater
Petite Messe Solennelle

Fenton – Falstaff
Duke of Mantua – Rigoletto*

* under preparation