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Susannah

“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.” - David Noh, Opera News

“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.” Anne Midgette, New York Times

Madama Butterfly

”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 Giacomo Puccini’s famous opera at the highest level.” -Liechtensteiner Vaterland (Translated into English)

”(For the role of Cio Cio San,) we find an almost ideal interpreter in Angela Fout. Vocally extremely versatile, balancing each nuance of 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.” - Peter E. Schaufelberger, Südkurier (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.” - St. Galler Tagbaltt (Translated 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!” - Kaspar Sannemann, Operaktuell (Translated 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.” - Alfred Zimmerlin, Neue Zürcher Zeitung (Translated into English)

Cosi fan tutte

“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.” - Robert Jones, The Post and Courier

“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.” - S.E. Barcus, Charleston City Paper

"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." - Perry Tannenbaum, Creative Loafing Charlotte

“Soprano, Angela Fout was Fiordiligi; her Act 2 aria ‘Per pieta’ was the evening’s standout for sheer beauty and depth of feeling.” - Washington Post, 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…” - The Capital, J.F. Greene

Turandot

"Angela Fout was an impressive, intense Liù." - J. Paulk, Das Opernglas (Translated into English)

"Angela Fout was a confident, rich-voiced Liù." - Stephanie Adrian, Opera News

“Angela Fout's sweet portrayal of Liù was painted by poignant repose and a lovely, lyric sheen to her voice." - Michael Huebne, Birmingham News

“However, a personal favorite was Angela Fout, Liù, the warm-hearted slave girl. The versatility of her voice left the audience speechless, and her depiction of Liù is absolutely brilliant... Her voice was soft and fragile, but at the same time brave and piercing" - Aileen Li, Technique

Don Giovanni

“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.” - Louise Phillips, Vancouver Courier

“Angela Fout, as Donna Anna, displays a voluptuous voice and strength of character.” - Elizabeth Paterson, Vancouver Review

“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.” - Janet Smith, Georgia Straight-Vancouver

"Angela Fout's Donna Anna has a melodious, strong soprano, and fulfills her aria brilliantly." - Margrit Zaczkowska, St. Galler Nachrichtigen

"Angela Fout shows a strong and at the same time vunerable Donna Anna, that above all convinces with its melodious, urgent laments." - Brigitta Schmid Pfändler, Ostschweizerinnen

"The remaining, refreshing young ensemble satisfies unevenly, from (delete name) X's awful droning, up to the radiating dramatic Donna Anna of Angela Fout" - Hans Uli von Erlach, Blick

“Soprano Angela Fout brought a voluptuous voice and performance as Donna Anna. Melodious and lucidly clear, her ornamentations were notable.” - Theodore P. Mahne, Nola.com

ARIZONA LADY

"Arizona Lady" had all the bells and whistles of more standard repertoire: Terrific vocal performances from leading lady soprano Angela Fout…” Cathalena E. Burch, Arizona Daily Star

Merry Wives of Windsor

“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." - Herbert Büttike, Der Landbote (Translated into English)

Le Nozze di Figaro

“In Act 3, (Ms. Fout) produced a beautiful and finely spun thread of tone, fully voiced, but very soft, in ‘Dove sono.’” - Philip Kenicott, The Washington Post,

“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.” - T.L. Ponick, The Washington Times

Nixon in China

“ A warm-hearted, dreamy character and lovely singing.” - Michael Anthony, Minneapolis Star Tribune

“Angela Fout makes the bland, uninteresting Pat Nixon into a lively, vibrant woman.” - The Purple Circuit, Steven LaVigne

Carmen

“In her company debut Angela Fout sang the role of Micaela with a chaste purity and simplicity.” - Jeremy Eichler, New York Times

“Not as a counterpart, but as an equal opposite, Angela Fout blossoms in the role of the Micaela. The operetta-like innocence of the country prevails in her first appearance, and she reverberates in the third act with a heart-warming, natural outpouring of emotion. ” - Bettina Kugler, St Gallen Tagblatt

“Operetta diva Angela Fout as Micaela (was an) enchanting Francophone with a voluptuous, legato sound." - Roger Gaston Sutter, stadt24

Street Scene

"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." - Joe Banno, The Washington Post

“Her warm, naturally inflected singing revealed Rose's basic goodness.” - Tim Smith, Opera News

Egmont, Op. 84, Beethoven

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

Concert, Gotham Chamber Opera

"...soprano Angela Fout was eloquent, simultaneously grand and hushed, in “This Is Prophetic,” Pat Nixon’s aria from Mr. Adams’s “Nixon in China.” It will be hard to hear the word “inviolate” in the same way after her steely, implacable delivery." New York Times, Zachary Woolfe

Recital, Spoleto USA

“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.” Carol Furtwangler, Post and Courier