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.”

 

Madama Butterfly

Liechtensteiner Vaterland

Die Premierengäste waren hingerissen. Zu Tränen gerührt nahm Angela Fout, die in der Rolle der Cio Cio San einen grossen Teil der gut zweistündigen Aufführung allein bestreitet, die spontanen "Brava"-Rufe und Standing Ovations entgegen. Ihre hingabe treibt den Herzschmerz in Giacomo Puccinis berühmter Oper auf die Spitze.

Translated into English
The premiere audience was thrilled. Moved to tears, Angela Fout took on a big part of the 2-hour performance in the role of the Cio Cio San, receiving the spontaneous "Bravas" and a Standing Ovations. Her abandon drives pain in the heart of in Giacomo Puccinis of famous opera at the highest level. -Liechtensteiner Vaterland

 

Madama Butterfly

Südkurier, Peter E. Schaufelberger

Im Zentrum der Inszenierung stehen die Menschen, vor allem Cio-Cio-San oder eben Madame Butterfly, die zwischen ihrer eigenen Kultur und der neuen hin- und hergerissen ist. Sie findet in Angela Fout eine nahezu ideale Interpretin. Stimmlich überaus wandlungsfähig, jede Nuance ihrer Partitur auslotend, spürt sie den feinsten seelischen Regungen dieser getäuschten und sitzengelassenen Frau nach. Einer Frau, stets beherrscht in ihrer Verzweiflung, von innen heraus überschwänglich in den Augenblicken neu aufkeimender Hoffnung auf die Rückkehr ihres Mannes. Es ist die Liebe zu einem Mann, für den sie letztlich doch nur Spielzeug ist. Ihre Sehnsucht, ihre Enttäuschung, ihre Verständnislosigkeit für das Verhalten Pinkertons, die Ausweglosigkeit: All das verharrt ungeachtet der großen dramatischen Ausbrüche des Orchesters letztlich in einer lyrischen Verhaltenheit und ist deshalb besonders anrührend.

Translated into English
(For the role of Cio Cio San,) we find an almost ideal interpreter in Angela Fout. Vocal extremely versatile, balancing each nuance the score, she senses the finest stirring of the soul of this deceived and deserted woman. A woman, always controlled in her despair, without over exuberance in the moments of newly germinating hope for the return of her husband. Her longing, her disappointment, her incomprehension of the behavior of Pinkerton, her hopelessness: All of this persists without regard to the large dramatic outbreaks of the orchestra in a lyrical restraint, therefore especially moving. -Südkurier

 

Madama Butterfly

St. Galler Tagbaltt

Cio Cio San (Angela Fout) singt sich mit wunderbarem Timbre in die Herzen des Publikums. Ihr Sopran ist in allen Registern ausgeglichen, schlank, und ohne Allüren. So sicher wie die Töne wirken ihre Gesten. Der holzschnitthafte Charakter wird musickalisch stark umgesetzt.

Translated into English
Cio Cio San (Angela Fout) sung with wonderful timbre into the hearts of the public. Her soprano is even in all registers, slim and without affect. As confident as her sound were her gestures. The character was strongly musically supported.

 

Madama Butterfly

Operaktuell, Kaspar Sannemann

Angela Fout war diese Butterfly: Zu Beginn unterstrich sie das etwas naive Mädchen, welches die Auftrittsszene noch etwas zitternd und flackernd bewältigte, doch bereits im grossen Liebesduett nach zögerlicher Annäherung zu innigeren, verliebten Tönen fand. Im zweiten und dritten Akt wuchs sie zur eindrucksvollen Tragödin im besten Sinne, rührte mit ihrem unerschrockenen Glauben an die Liebe und intensiver innerer Kraft die Zuschauer, legte die ergreifende Tragik der Figur in eine dynamisch aufs Feinste abgestufte Linienführung ihres auch zu herrlich aufblühender Strahlkraft fähigen Soprans und bewahrte mit aufrüttelnder Darstellung bis zum tragischen Harakiri Würde. Eine überaus reife Leistung!

Translation into English
Angela Fout was this Butterfly: At the beginning she underscores a somewhat naive girl, who mastered the entrance scene with trembling and flickering, but already in the large love duet after shy approach developed to more ardent, enamored tones. In the second and third act, she grew to the impressive tragic figure in the best sense, moved the audience with her unshakable belief in her love and her intense inner strength, she laid the poignant tragedy of the character in one dynamically finely graduated line, also the lovely blooming and radiant power of her capable soprano kept with the rousing representation to the tragic harakiri. An extremely ripe achievement!

 

Madama Butterfly

Neue Zürcher Zeitung, Alfred Zimmerlin

Angela Fout als Cio-Cio-San blüht immer mehr auf, sie entwickelt Farben und ein Ausdrucksspektrum von beachtlicher Breite. Die Intensität, welche sie dem zweiten Akt gibt, ist enorm.

Translation into English
Angela Fout as a Cio-Cio-San blooms more and more, she develops colors and an expression spectrum of notable width. The intensity which gives she the second act is enormous.

 

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.”

 

Egmont, Op. 84, Beethoven

St. Galler Tagblatt, Martin Preisser

"However, Angela Fout was flawless in her two arias of Clara. Her soprano is radiant, pure and refined..." (Translated from German)

 

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.’”