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Susannah Opera News, David Noh “Angela Fout, with a voluptuous, baby-faced blonde prettiness, was a ravishing Susannah, rich-voiced and a deeply moving actress. She perfectly embodied the natural, willfully high-spirited nature of the character, recalling Lillian Gish’s classic portrayals of virtue betrayed…Her final moments were tinged with a terrifying inevitability.”
Susannah New York Times, Anne Midgette “Angela Fout was a perfectly type-cast Susannah: a fresh, pretty, round-edged blonde girl with dramatic tendencies to her attractive voice that could easily lead to speculation about its innocence.”
Turandot Das Opernglas, J. Paulk "Angela Fout was an impressive, intense Liu."
Turandot Stephanie Adrian, Opera News "Angela Fout was a confident, rich-voiced Liù."
Turandot Birmingham News, Michael Huebne Angela Fout's sweet portrayal of Liu was painted by poignant repose and a lovely, lyric sheen to her voice.
Turandot Technique, Aileen Li However, a personal favorite was Angela Fout, Liu, the warm-hearted slave girl. The versatility of her voice left the audience speechless, and her depiction of Liu is absolutely brilliant... Her voice was soft and fragile, but at the same time brave and piercing"
Cosi fan tutte The Post and Courier, Robert Jones “Fiordiligi is Angela Fout, blonde and vivacious, with a soaring spinto voice that takes a high C easily, trills beautifully, and handles coloratura like a dream.”
Cosi fan tutte Charleston City Paper, S.E. Barcus “Soprano Angela Fout sings this role as beautifully as can be imagined. Most impressive were the two truly difficult pieces, “Come scoglio” and “Per pieta.” …It was amazing to hear her nail those arias- especially the lengthy “Per Pieta,” which comes later, after she’s already been onstage singing for a couple of hours. And she does it all while expressing emotion as well as any theatre actor! Fout is wonderful throughout the evening, but hearing her sing these two arias makes the evening worth it by themselves.”
Cosi fan tutte Creative Loafing Charlotte, Perry Tannenbaum "Chief attraction here for opera lovers in search of new talent is soprano Angela Fout as the more chaste of the sisters. The lady is an outright fox -- with no shortages whatsoever in the vocal and acting spheres."
Cosi fan tutte Washington Post, J.F. Greene “Soprano, Angela Fout was Fiordiligi; her Act 2 aria ‘Per pieta’ was the evening’s standout for sheer beauty and depth of feeling.”
Cosi fan tutte The Capital, J.F. Greene “A particular standout at both performances was Ms. Fout’s Act II aria ‘Per pieta’… This difficult piece, with its range of extremes, was delivered exquisitely and movingly; even the lowest notes were audible and secure. The aria was the turning point in the production…”
Wiener Blut Ostschweizer Spiegel, So wird die Amerikanerin in St.Gallen, Angela Fout, allen vor- an zur Entdeckung einer Diva- Gräfi n, die als kühle Blonde ganz in sich selbst ruht und sich den- noch freispielt bzw. der (Männer- )Welt souverän ein bisschen mit- spielt.
Don Giovanni Vancouver Courier, Louise Phillips Powerhouse lyric soprano Angela Fout, who must one day be unleashed on opera's mightier heroines, plays Donna Anna as a complex woman with no time for fools. Fout, too, uses vocal restraint, respecting Mozart's decorated high notes and giving her character emotional clarity in two wildly differing arias.
Don Giovanni Vancouver Review, Elizabeth Paterson Angela Fout, as Donna Anna, displays a voluptuous voice and strength of character.
Don Giovanni Georgia Straight-Vancouver, Janet Smith Most notable is Donna Anna, whose father is stabbed by Giovanni after running to save her from rape. Soprano Angela Fout’s Anna is one of the show’s surprise standouts, especially later, in her moment of realization that she’s just looked her father’s murderer in the face again. She blazes into the ensuing difficult aria with enough fury to match the reddening sky behind her.
Don Giovanni St. Galler Nachrichtigen, Margrit Zaczkowska "Angela Fout's Donna Anna has a melodious, strong soprano, and fulfills her aria brilliantly."
Don Giovanni ostschweizerinnen, Brigitta Schmid Pfändler "Angela Fout shows a strong and at the same time vunerable Donna Anna, that above all convinces with its melodious, urgent laments."
Don Giovanni Blick, Hans Uli von Erlach "The remaining, refreshing young ensemble satisfies unevenly, from (delete name) X's awful droning, up to the radiating dramatic Donna Anna of Angela Fout"
Merry Wives of Windsor Der Landbote, Herbert Büttike The women serve him (Falstaff) with verve, with luxurious soprano Angela Fout, and – beautifully singing together in harmony, appropriately sounding in contrast – with vigorous Mezzo Katia Starke."
Le Nozze di Figaro The Washington Post, Philip Kenicott “In Act 3, (Ms. Fout) produced a beautiful and finely spun thread of tone, fully voiced, but very soft, in ‘Dove sono.’”
Le Nozze di Figaro The Washington Times, T.L. Ponick “Ms. Fout’s dignified handling of her more expressive role was subtly nuanced and poignantly phrased…her exquisitely balanced performance of the famous aria ‘Dove sono i bei momenti’ thrilled the audience with its emotion and sophistication.”
Nixon in China Minneapolis Star Tribune, Michael Anthony “ A warm-hearted, dreamy character and lovely singing.”
Nixon in China The Purple Circuit, Steven LaVigne “Angela Fout makes the bland, uninteresting Pat Nixon into a lively, vibrant woman.”
Carmen New York Times, Jeremy Eichler “In her company debut Angela Fout sang the role of Micaela with a chaste purity and simplicity.”
Carmen St Gallen Tagblatt, Bettina Kugler Nicht als ernsthafte Gegenspielerin, aber doch als Gegenpol blüht Angela Fout in der Partie der Micaela auf. Überwiegt in ihrem ersten Auftritt noch die operettenhafte Unschuld vom Lande, so schwingt sie sich im vierten Akt zu herzenswarmem, natürlich strömendem Ausdruck auf: ein Moment der Authentizität im Schnelldurchlauf der Illusionen.
Carmen stadt24, Roger Gaston Sutter Mit kehlig unterdrückter, unsauber intonierter Baritonstimme verbellte er die Torero-Arie geradezu sang- und klanglos. Solcher Stillosigkeit konnte dann just Operettendiva Angela Fout als Micaëla ein bezaubernd francophon erspürtes, dralles (Legato-)Klangbild entgegensetzen.
Serse Opera News, Tim Smith “Angela Fout’s healthy, agile voice suited Romilda’s music snugly.”
Street Scene The Washington Post, Joe Banno "For the third time in a three-work season, Wolf Trap Opera hit pay dirt casting from its company of young singers. Carolyn Betty sang the role of Anna Maurrant with a shimmering, creamy soprano, finding the requisite ache in the gut for her 'Somehow I Never Could Believe.' Soprano Angela Fout's Rose Maurrant was no less rich-voiced and gave a touching urgency to the girl's romantic confusion and wanderlust."
Street Scene Opera News, Tim Smith “Her warm, naturally inflected singing revealed Rose's basic goodness.”
In Concert The Post and Courier, Carol Furtwangler “Enter Angela Fout, as fine a vocalist as Spoleto has seen in many a year. With a big, bold and disciplined soprano, Fout can toss off high notes with élan, while caressing lovingly the low and mid-range tones…her personality lent the set dramatic truth, and her voice subtle beauty.”
In Concert The Capital, J.F. Greene “Soprano Angela Fout’s ‘Ach, ich fuhl’s’ from The Magic Flute could hardly have been improved upon. Delicacy and ineffable sadness permeated the atmosphere, as it should, as in this aria, young love seems to be lost forever. By contrast, for ‘Come scoglio’ from Cosi fan tutte, she was firm and determined, even commanding.”
In Concert The Baltimore Sun, Phil Greenfield “Fout, a Juilliard graduate who won last year’s Annapolis Opera Vocal Competition in a walk, gave us an assertive, but lovely ‘Come scoglio’ in Act One as she mixed registrations in a flourish and reveled in the charm of the lilting melody from the Kyrie of his ‘Coronation Mass.’”
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