Coeli Ingold, soprano, is known for her many appearances in recital, oratorio, contemporary music, opera, and as soloist with orchestra. Critically acclaimed for unique musical interpretations, she also exhibits “exquisitely polished performances” and “immaculate technique” (New Jersey Courier-Post). In particular, her performances of bravura Handel arias and Mozart coloratura roles combine vocal prowess with an alluring stage presence that has been described as “engaging,” “enchanting,” and even “daring” (Cleveland Plain Dealer). To listen to sound clips, click here.
A native Clevelander and favorite with Northeast Ohio audiences, Ms. Ingold has concertized throughout the Midwest, and in France and Switzerland. During 1990’s into the early 2000’s, she appeared regularly in concerts with The Cleveland Camerata, an ensemble she established in 1991 to promote the performance of rarely heard Baroque vocal chamber works.
Ms. Ingold also concertized extensively with the lutesong repertoire of 17th-century England, Italy, and France. Concert credits include appearances with the Early Interval of Columbus, the Bach Festival at Baldwin Wallace Conservatory, the Ganassi Ensemble, Apollo’s Fire Baroque Orchestra, the Bach and Handel Society (Cleveland),the Case Western Baroque Orchestra, The Rutgers Atheneum for Early Music, the Cleveland Composer’s Guild, The Cleveland Orchestra pre-concert lectures, The Cleveland Museum of Art, the Cornell University Contemporary Series, and the Cathedral of St. Sulpice in Paris, France.
During the 1990’s Ms. Ingold’s work with The Cleveland Camerata earned her immediate visibility as one of early music’s emerging talents. Comprising voice, flauto traverso, violin, and continuo, the ensemble was the first of its kind in the vicinity, and was instantly praised by press and audience alike for its “refreshing and unstuffy approach” to early music” (Robert Finn, Cleveland Plain Dealer). Cleveland Camerata, excelling in the French cantata repertoire and songs of Purcell, presented concerts with such intriguing themes as The Pleasures of the Countryside (music from the French Courts), A Baroque Valentine, The Annual Great Baroque Christmas Escape, The Lady Abandoned (a program of tragic Baroque heroines), and The Charms of Love (music of English court and theatre).
Also in demand as soloist with orchestra, Ms. Ingold appears frequently in a wide selection of oratorios, concert arias and orchestral works. She has sung Handel’s Messiah, and Haydn’s Creation (Gabriel and Eve) under numerous batons. Rounding out her orchestral repertoire are Vivaldi’s Gloria, Bach’s Christmas Oratorio, as well as Saint-Saens Christmas Oratorio, and the requiems of both Mozart and Fauré. In 1996, she appeared as Solomon’s Queen in Handel’s Solomon, along with musicians from The Ohio Chamber Orchestra. Other works with chamber orchestra have included Bach’s Cantata No. 51: Jauchzett Gott, Mozart’s Exsultate Jubilate, his coloratura aria Vorrei Spiegarvi oh Dio, and Pergolesi’s Stabat Mater. Equally adept at contemporary music, Ms. Ingold was soloist in the world premiere performance of The Conversion of St. Paul, a cantata for mixed chorus and organ written specifically for her voice by Christopher Morgan Loy.
Ms. Ingold made an auspicious operatic debut as Nedda in I Pagliacci. After bowing to a standing ovation, she was lauded by the press for bringing “shimmering vocal qualities to Nedda’s aria” and for her trills in the first act aria, “which elude most exponents of the role” (Donald Rosenberg, Cleveland Plain Dealer). Later in the season she portrayed the spunky maid servant Blondchen in Mozart’s Die Entführung aus dem Serail and “sounded right at home in Mozart’s coloratura arias and high-flying pitch range. She blossomed beautifully as a comic opera soubrette” (Wilma Salisbury, Plain Dealer). Ms. Ingold has also sung Gretel in Humperdinck’s Hansel and Gretel Belinda in Purcell’s Dido and Aeneas, Nympha in Monteverdi’s Orfeo, and Lisa in Bellini’s La Sonnambula.
Ms. Ingold maintains an active singing career in her hometown where she is currently seen and heard regularly at The Cathedral of St. John the Evangelist. She has appeared as soloist on several compact discs, including recordings of Mozart’s Laudate Dominum, and Handel’s Rejoice Greatly and If God be for Us for St. John’s Cathedral.
Other appearances included performances of Schubert’s Der Hirt auf dem Felsen and Spohr’s Ich bin allein with The Venner Ensemble, Mozart’s Requiem for the National Tragedy Events (Rollingrequiem), and participation in the Unity Day Celebration for former Cleveland Mayor Jane Campbell.
A recipient of the Reinberger Scholarship in Music, Ms. Ingold earned the Bachelor of Music Degree from the Cleveland Institute of Music, where she studied opera with Andrew Foldi of the Metropolitan Opera. She also holds a graduate degree in Performance Practices of Early Music from Case Western Reserve University, where she studied with renown soprano Julianne Baird. She has participated in several masterclasses with international artists, including Emma Kirkby, Colin Tilney, Malcom Bilsom, Andrea von Ramm, and Suzie LeBlanc. She was formerly on the voice faculty of The Cleveland Music School Settlement, where she also directed the Madrigal Singers, and Ursuline College. She continues to teach a select group of singers in private studio lessons and is frequently requested to conduct masterclasses and workshops.
For booking information, or to receive a full repertoire list, compact disc, and resumé, contact:
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