Opera Reviews


As Nedda, Coeli Ingold showed another side to her artistry. The soprano, who usually concentrates on early music, brought shimmering vocal qualities to Nedda’s aria, including pristine trills that elude most exponents of the role. How nice to hear the part sung with such agility and tonal purity…A capacity audience appeared charmed by the production.”
– Donald Rosenberg, The Cleveland Plain Dealer

“Coeli Ingold was Nedda, the wife of Canio…to hear her in the aria Stridono Lassu, and her duets with Tonio and Silvio was well worth the price of admission.”
– Jerry Stephens, Youngstown Vindicator


“The role of the spunky maid servant Blonde was perfectly played by soprano Coeli Ingold. Pert and pretty in a white lace cap, she sounded right at home in Mozart’s coloratura arias and high-flying pitch range. She blossomed beautifully as a comic opera soubrette.”
– Wilma Salisbury, Cleveland Plain Dealer

“Besides her engaging antics on stage, Ingold’s youthful and sparkling clear voice is undeniably well-suited for this character (Blonde).”
– Zachary Lewis, Cleveland Sun News

“Coeli Ingold, who performs regularly in area productions, displayed a good command of the writing for Blonde.”
– Elaine Guregian, Akron Beacon Journal


“Humperdinck was lucky to have singers in the title roles who brought bountiful charm to their duties. Coeli Ingold’s Gretel claimed just the right touches of purity and warmth. Her lyric soprano brought silvery agility to the girl’s lines, her trill was real, and she centered pitches squarely on target. Ingold and Scheetz (Hansel) shaped the prayer with disarming reverence.”
– Donald Rosenberg, Cleveland Plain Dealer

(Bellini’s Sonnambula) “Ingold’s pure voice sparkled in coloratura arias, and she brought plenty of personality to her role.”
– Wilma Salisbury, Cleveland Plain Dealer