Bass-baritone Andrew Gangestad has been applauded for his ‘dark, rich sound and strong musicality’ by audiences throughout the world. Of his performance as Don Basilio in Il barbiere di Siviglia, the Kansas City Star wrote “Andrew Gangestad demonstrated a glorious bass voice,” and as Leporello in Don Giovanni with Opera Pacific, the Orange County Register wrote “Andrew Gangestad portrays the long-suffering Leporello with aplomb, crisp in accent, dark of voice and understated in comedy.” He recently returned to the Metropolitan Opera for its production of Les pêcheurs de perles, performed Zaccaria in Verdi’s Nabucco at Opera Carolina and appeared as the Captain in Daniel Catán’s Florencia en el Amazonas with Nashville Opera.
Widely known for his interpretation of Leporello in Don Giovanni, Andrew has performed the role with the Lyric Opera of Kansas City, Sarasota Opera, Opera Pacific, and Arizona Opera. He also performed Basilio in Il barbiere di Siviglia with Lyric Opera of Kansas City, Opera Omaha, and Opera Cleveland. Mr. Gangestad’s recent international highlights include Ramfis in Aïda with the Bregenz Festival in Austria, the title role in Le nozze di Figaro at the Macao International Music Festival and a notable debut with the Welsh National Opera début as Ramfis in Aïda.
Since his Metropolitan Opera début in Berg’s Lulu, Mr. Gangestad has returned to the coveted house each season, having performed as Brander in La damnation de Faust, Tom in Un ballo in maschera, Colline in La bohème, Truffaldino in Ariadne auf Naxos, Count Ceprano in Rigoletto, Lignière in the company première of Cyrano de Bergerac, Vaudemont in I vespri siciliani, Cappadocian in Salome, the Imperial Commissioner in Madama Butterfly, Timur in Turandot, Frate in Don Carlo and many performances of Idomeneo, Un ballo in Maschera, La fanciulla del West, Les Troyens and Wozzeck. Also a company favorite with Seattle Opera, he has appeared there in such roles as Zuniga in Carmen, Tom in Un ballo in maschera, Alidoro in La Cenerentola, and Leporello in Don Giovanni.
Andrew’s many concert engagements include Händel’s Messiah with the Charleston Symphony Orchestra and Pacific Symphony; Mozart’s Coronation Mass and Haydn’s The Creation with the State College Chorale Society; Beethoven’s Missa Solemnis with the Berkshire Choral Festival; Beethoven’s Ninth Symphony with the Columbus Symphony Orchestra and Duluth Superior Symphony Orchestra; Verdi’s Requiem with the Kalamazoo Symphony; soloist in Honegger’s Jeanne d’Arc au bûcher with Oregon Bach Festival under Marin Alsop; Tan Dun’s Theatre Orchestral II: Re and Mozart's Requiem with the Duluth Superior Symphony Orchestra.
Andrew’s opera roles in concert, include Brander in La damnation de Faust with the Boston Symphony Orchestra under James Levine in Boston and at Carnegie Hall; Méphistophélès in La damnation de Faust with the Richmond Symphony; The Monk in La Gioconda and as The Hermit in Der Freischütz with Opera Orchestra of New York at Carnegie Hall; Méphistophélès in Szenen aus Goethes Faust with the Warsaw Philharmonic; Lodovico in excerpts from Otello for the 2006 Richard Tucker Gala, and L’enfant et les sortilèges with the Minnesota Orchestra.
Additional credits: Nourabad in Les pêcheurs de perles with Pittsburgh and Sarasota Operas; Der Tod in Der Kaiser von Atlantis with Cincinnati Opera; Rodolfo in La sonnambula with Michigan Opera Theatre; Ramfis in Aïda with Hawaii Opera Theater and Opera Pacific; Colline in La bohème with New York City Opera, Kentucky Opera, Arizona Opera, and Opera Pacific; Ferrando in Il trovatore with Minnesota Opera and Toledo Opera; the title role in Le nozze di Figaro with Lyric Opera of Kansas City and Bellingham Music Festival; Commendatore in Don Giovanni with Opera Theatre of Saint Louis; Banquo in Macbeth, and Candy in Of Mice and Men with Sarasota Opera; Sparafucile in Rigoletto with Sacramento Opera; Timur in Turandot with Kentucky Opera.
Andrew Gangestad is the first place winner of the 2005 Fritz and Lavinia Jensen Foundation Voice Competition and the recipient of the Robert Lauch Memorial Grant from the Wagner Society of New York.