Bach: St. Matthew Passion (March 2015)
"Mezzo-soprano Angela Young Smucker was a hypnotic and heart-rending woman of sorrow; her arias 'Buß und Reu' and 'Erbarme dich' were rich in pathos and made for some of the performance’s emotional highpoints."
Tim Sawyier, Chicago Classical Review
"Woman Scorned" with Les Délices Chosen as a 2013 Cleveland Favorite!
"The French Baroque chamber ensemble Les Delices and [mezzo-] soprano Angela Young Smucker captivated listeners with vivid portrayals of ancient heroines fed up and unwilling to take any more. So powerful, expressive and colorful were the instrumental and vocal performances, one could have taken the heat all afternoon."
Zachary Lewis, The Plain Dealer
"Woman Scorned" with Les Délices (October 2013)
"Les Delices bowled over Plymouth Church in Shaker Heights with vivid revivals of ancient, bitter heroines jilted, spurned or otherwise misused. Most of the bowling was done by Angela Young Smucker, a mezzo-soprano with both a rich, expressive voice and a powerful stage presence. For long stretches Sunday, she had patrons mesmerized, convinced they alone were the cause or brunt of her ire."
Zachary Lewis, The Plain Dealer
"Woman Scorned" with Les Délices (October 2013)
"(Smucker) has a powerful and supple voice, managing both the big effects that baroque opera demands and the elegant ornamentation that the style equally calls for. I think I have never been so moved by the power of the port de voix."
Nicholas Jones, Cleveland Classical
"Woman Scorned" with Les Délices (October 2013)
"The vocals were drenched in emotion, as Smucker imbued every syllable of her impassioned 19 lines with just the right balance of sadness and vengeance."
Frank Kuznik, Cultured Cleveland
Bach: Cantata Arias with BCSD (February 2012)
"[T]he persuasive alto soloist Angela Young Smucker... Her discerning interpretation of the texts matched her creamy alto sonority and perceptive traversal of Bach’s serpentine vocal lines... In “Widerstehe doch der Sünde” from Cantata No. 54, for example, Smucker communicated an ennobling confidence, even as the text warns the listener of Satan’s alluring wiles. In Bach’s time, the liturgical cantatas preached doctrine and piety as exhaustively as did ministers from the pulpit, and Smucker demonstrated how astutely Bach fused such rhetoric into his music. It is no surprise that she teaches voice at Valparaiso University, a prominent Lutheran institution in the Midwest, where such insight is still practical."
Kenneth Herman,
Charpentier: Le Jugement de Pan / Divertissement / Actéon (2014)
"Angela Young Smucker’s voice was appropriately weighted, not too heavy or too light, easily fitting with the orchestra."
Elliot Mandel, Chicago Classical Review
Handel: Dixit Dominus (September 2013)
"Alto Angela Young Smucker conquered the sinuous lines of her demanding aria 'Virgam virtutis tuae' with extravagant declamation and fluid phrasing..."
Kenneth Herman, San Diego Story
Newberry Consort on "Chicago Tonight" (April 2013)
From WTTW's "Chicago Tonight" -- A preview of "Juz zima smutna", anonymous, from Martin Laski’s Of the Tree of Life (c. 1550) featured on the Newberry Consort's "Poland's Golden Age," a concert of early Polish music.
Chicago Tonight, WTTW
Purcell: Dido & Aeneas (February 2013)
"Company mainstay mezzo Angela Young Smucker as the Sorceress is a show-stealer for her humor as well."
Andrew Patner, Chicago Sun-Times
Purcell: Dido & Aeneas (February 2013)
"It was nice to have Angela Young Smucker’s Sorceress genuinely sung for once minus the cackling that has become de rigeur in recent years."
Lawrence A. Johnson, Chicago Classical Review
Handel: Clori, Tirsi, e Fileno (September 2012)
"The singers shared the tiny stage with an amazingly well-behaved dog named Peanut, whose mistress, mezzo Angela Young Smucker, sang the trouser role of Fileno... All three singers sang capably and embellished the repeats of their arias stylishly... [Smucker's] pure, soft timbre fell ingratiatingly on the ear, and there was much expressive phrasing in her arias. She even persuaded her pooch to sit still on her lap during one of them."
John von Rhein, Chicago Tribune
Handel: Clori, Tirsi, e Fileno (September 2012)
"Haymarket plays it 'straight,' with all three parts portrayed by high voices, in this case, women, Clori taken by a soprano, the charming Alison Wahl, and her competing suitors, Tirsi and Fileno, by winning soprano Josefien Stoppelenburg (the fine Aci in Haymarket’s first production, Handel’s 'Aci, Galatea e Polifemo') and convincing mezzo Angela Young Smucker (Galatea in that calling card presentation)... Smucker, too, provided her very well-trained dog, Peanut, to underscore the prosperous station of Fileno."
Andrew Patner, Chicago Sun-Times
Handel: Aci, Galatea e Polifemo (September 2011)
"Angela Young Smucker brought a rich, secure mezzo-soprano to Galatea's love music and outpouring of grief in the recitative following Aci's death."
John von Rhein, Chicago Tribune
Handel: Aci, Galatea e Polifemo (September 2011)
"Galatea is regally portrayed by mezzo-soprano Angela Young Smucker, a vocalist in possession of a richly layered instrument."
Kathryn J. Allwine Bacasmot, Chicago Classical Music
Handel: Aci, Galatea e Polifemo (September 2011)
"The company’s singers—soprano Josefien Stoppelenburg as Aci, mezzo-soprano Angela Young Smucker as Galatea and bass Benjamin LeClair as Polifemo—brought radiant voices and deeply felt characterization to their roles...Handel’s long, sustained vocal lines and intricate ornamentation held no terrors for any of the singers. The women’s voices had a mellow edge that made for a creamy blend in the cantata’s rare duets."
Wynne Delacoma, Chicago Classical Review
Handel: Aci, Galatea e Polifemo (September 2011)
"[E]ach of the three singers performed outstandingly and possessed the characteristic, light Baroque voice and individual charm necessary for the authentic interpretation of Baroque opera...[T]he youthful soprano Josefien Stoppelenburg and the equally charming mezzo-soprano Angela Young Smucker proved the most adorable, affectionate, and angelic-sounding Aci and Galatea..."
Kristina Powers, Bachtrack
Purcell: Dido & Aeneas (June 2011)
"I don't think the evil Sorceress of mezzo-soprano Angela Young Smucker has ever been done as effectively on recordings, and she took total possession of the role."
David Gregson, Opera West
Purcell: Dido & Aeneas (June 2011)
"The all-important Sorceress is played by expressive, fiery Chicago mezzo Angela Young Smucker, who sings very well and is a stage natural."
Charlene Baldridge,
Purcell: Dido & Aeneas (June 2011)
"As the Sorceress, [Angela Young Smucker] is stunning in looks... and in her rich mezzo voice."
Rob Appel, San Diego Theater Reviews
Bach: Mass in B-Minor (June 2008)
“Four vocal soloists (Bach calls for five, but Valenzuela had his second soprano Angela Young Smucker sing the alto solos as well) brought distinct temperaments and supple technical prowess to the mass… Equal to [the bass soloist’s] intensity and fervor was mezzo Angela Young Smucker, who negotiated suavely the rhythmic complexities of the ‘Laudamus te’ without losing any of her warm, effusive timbre.”
Kenneth Herman, San
Matthus: Te Deum (June 2008)
"The Finale Concert of the American Guild of Organists National Convention, held Thursday night at the Cathedral of St. Paul, was a feast of modern music for organ and choir, the guild's twin emphases...The centerpiece was the U.S. premiere of German composer Siegfried Matthus' 70-minute 'Te Deum'...The solo writing was not always grateful to the voice, but the soloists...[including] mezzo-soprano Angela Young Smucker...handled their difficult assignments fearlessly."
William Randall Beard, Star-Tribune
Gilbert & Sullivan: Iolanthe (March 2008)
“Angela Young Smucker as the Queen of the Fairies was the standout singer, with a clear voice and rich low notes.”
M. I. Rantala, Hyde Park Herald
Copland: In the Beginning (March 2007)
“Without a doubt, the climax of the evening was In the Beginning by Aaron Copland (1900-1990), a setting of the biblical creation story for mezzo-soprano solo and choir. The ‘fifteen magical minutes,’… featured a young alumna of the Chorale, Angela Young Smucker. Truly this debutant – with her clear, pure voice that rings full in every register and is profoundly expressive – will have a successful career.”
Dieter Albrecht, Thüringer Allgemeine
Spiritual: Rise Up, Shepherd, and Follow (December 2006)
“But the concert’s show-stopping solo belonged to Angela Young Smucker on a version of the black spiritual “Rise Up, Shepherd, and Follow” that could raise both roofs and spirits."
Rob Hubbard, St. Paul Pioneer Press
Favero: Te Quiero (July 2006)
“… Angela Young Smucker plumbed the depth of Romance’s ‘Te Quiero,’ by Argentinean composer Albert Favero, with touching simplicity and molten tone.”
Craig Smith, The Santa Fe New Mexican
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