Veronica Cangemi on iTunes

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Cangemi Veronica

 The argentinian soprano, Veronica Cangemi, played initially the cello in the local symphony orchestra before attracting attention as a singer by winning first prizes in the Argentine National Singing Competition and the Francisco Viñas Competition in Barcelona.

Veronica Cangemi launched her career in Europe in Gluck's Armide in collaboration with Les Musiciens du Louvres under Marc Minkowski, which also immediately pointed the way to one of the main points of emphasis in her reprertoire: Veronica Cangemi spealizes in 17th and 18th century opera. Her palette ranges from Monteverdi's Orfeo to Antonio Vivaldi's Catone in Utica to Haydn's L'incontro improvviso. She has also appeared in a number of Mozart roles.

Veronica Cangemi performs regularly in Paris, on Radio France, at the Théâtre des Champs-Elysées and at the Opéra Comique, also at the Teatro Comunale Florence, Teatro Colon Buenos Aires, Flanders Opera, Munich State Opera, Berlin Deutsche Staatsoper, Madrid Teatro Real and at the festivals of Salzburg, Graz, Innsbruck and Lisbon.

In concert Veronica Cangemi has appeared with many major orchestras and conductors, at the festivals of Montreaux, Ludwigsburg, Winterhur, Würzburg and at the Amsterdam Concertgebouw. She has worked with such ensembles as Les Arts Florissants, Il Giardino Armonico as well as the Freiburg Baroque Orchestra under René Jacobs, and beyond this with the conductors William Christie, Sir Neville Marriner and Marek Janowski.

Recordings include Le Bourgeois Gentilhomme (Virgin Classics); Ruggiero/Tancredi (BMG-RCA); Dalinda/Ariodante (Archiv Produktions-DGG); Euridice/Orfeo (Harmonia Mundi). Future plans include Zerlina/Don Giovanni (Lacoste Festival); Servilia/La clemenza di Tito (Florence); Rinaldo, Xerxes, Micaëla/Carmen, Dalinda and Despina/Così fan tutte (Bavarian State Opera Munich); two A. Vivaldi recordings with the Ensemble Matheus (Opus 111); Griselda (Harmonia Mundi).

The press once referred to Veronica Cangemi as "an expert in dramatic rhetoric", and the prerequisite for this is certainly her "colossal perfection".



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