Zachary Angus is a Chicago-based baritone who is quickly making a name for himself as an artist to watch. Most recently, he created the role of Joseph in Francis Lynch’s first opera, Joseph’s Gift. He appeared last season as Friedrich Bhaer in Eugene Opera’s production of Mark Adamo’s Little Women. As a Featured Artist with the Fourth Coast Ensemble, Mr. Angus worked with composer Lita Grier to mount performances of her acclaimed song cycle Songs from Spoon River, a concert which also included selections from Ned Rorem’s masterwork Evidence of Things Not Seen. He has also recently appeared in more traditional repertoire, as Claudio (Béatrice et Bénédict, Eugene Opera), Captain Corcoran (HMS Pinafore, The Savoyaires of Evanston), and Pangloss/Cacambo/Martin (Candide, Opera Notre Dame).

As a concert soloist, Mr. Angus has sung in a number of sacred works including Handel’s Messiah, Chilcott’s St. John Passion (Pilate), Vaughan Williams’ Five Mystical Songs, Mozart’s Missa Brevis, and Schubert’s Masses in E-Flat and C.

Mr. Angus earned his Masters of Music degree from Roosevelt University’s Chicago College of Performing Arts in 2014, where he garnered credits in ten operatic productions, including Barone Trombonok (Il viaggio a Reims), Panhandler (Strawberry Fields, Torke), Don Prudenzio (Il viaggio), Roderick, Sam (The Long Christmas Dinner, Hindemith), and Spinelloccio (Gianni Schicchi, Puccini).


Joseph’s Prayer from Scene 2 of Joseph’s Gift by Francis Lynch.
The video is set to autoplay from 36:04 to 38:36. First heard is Karlos Piñero-Mercado.


Zachary Angus displayed a earnest and spinning instrument as the title character, caressing every phrase…

Full review of Joseph’s Gift  by Aaron Hunt for Chicago Theater Review.

…holding the audience closely while his strong yet agile voice carried us to “where the lemon blossom grows.”

Full review of Little Women by Heather Holmquist for Eugene Register Guard.

His gleaming smile and strong baritone simply float across the footlights.

Full review of H.M.S. Pinafore by Colin Douglas for Chicago Theater Review.