Reviews

Michael Chioldi as Ford and George Cordes as Page are smart and sympathetic, and Chioldi is especially moving in his “Pardon me” plea.

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Jeffrey Gantz, Boston Globe

The large cast that Odyssey Opera has assembled for Sir John in Love is filled with singing actors who project the music and the plot with charm, humor, and verve. The two married couples—Ford (Michael Chioldi) and his wife (Courtney Miller), and Page (George Cordes) and his wife (Mara Bonde)—are involved in the battle of the spouses, all clearly carrying their vocal parts and words. Ford has the largest serious moment in the opera when he contemplates the thought that his wife has actually accepted a private meeting with Falstaff; Michael Chioldi carried it off with energy and strength. Later on, he was suitably humbled when he realized that his jealousy was pointless and his wife refused, for a time, to forgive him.

 

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steven Ledbetter, The Boston Music Intelliger
Baritone Michael Chioldi was the vocal powerhouse of the night

As Lucia's villainous brother, Enrico, baritone Michael Chioldi was the vocal powerhouse of the night. Rich in tone and wide-ranging -- those top notes! -- Chioldi also proved to be a fine singing actor. Ever the cad, his Enrico showed a believable touch of remorse with the realizations of the cost of his wicked ways.

Theodore P. Mahne, NOLA.Com

Michael Chioldi’s Enrico

I had admired Michael Chioldi’s work in another important role for the lyric baritone, the title role in Ambroise Thomas’ “Hamlet” [see Michael Chioldi, Micaela Oeste Enrich Washington National Opera’s Theatrically Absorbing “Hamlet” – May 22, 2010.]

Chioldi as Enrico displayed a large, dark voice with power. He inhabited this role, convincing us of the desperate straits of a man with the weight of an estate’s future on his shoulders, having to conspire against a sister he loves to shake her out of what he considers a disastrous relationship.

 

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Review: New Orleans Opera’s Spectacular Lucia diLammermoor
New Orleans Opera's Lucia di Lammermoor

As Enrico, Michael Chioldi fit perfectly into the role of a man who becomes a villain not out of choice but from necessity.

Dean M. Shapiro, The New Orleans Advocate
Virginia Opera’s weirdly beautiful ‘Salome’ at GMU

A wonderful surprise in this production was sensational baritone Michael Chioldi as the mysterious prophet Jochanaan. Wild-eyed and radiating primitive energy and righteousness as you might expect from the fiery yet austere prophet who first proclaimed Jesus to the world, Mr. Chioldi backs up his character’s pronouncements of Apocalyptic doom with the force and vocal clarity of his clean, clear and authoritative instrument.

His stage presence in this production was immense and effective even though this part is relatively small. As a result, the end of the performance left the audience left with the clear sense that, while Jochanaan may have lost his head, he has clearly won the moral, philosophical and religious argument decisively when measured against Herod’s depraved court.

Terry Ponick, Communities Digital News
Virginia Opera presents ‘Salome,’ a tour de force etched in love and death

Baritone Michael Chioldi’s righteous Jochanaan matched her (Salome) note for note with warm timbre and phrasing.

Grace Jean, The Washington Post
VA Opera Salome Review

John the Baptist-Jochanaan-powerfully sung by Michael Chioldi-was the prisoner of the tetrarch Herod, kept hooded and contained in a dark rusty tank from which his beautiful, powerful voice continued to rail at the sinful Herodias.

M.D. Ridge, WHRO-Radio
IF YOU LIKE OPERA, DRESSING UP OR WATCHING CHICKS MAKE OUT WITH DECAPITATED HEAD

The performance was magnificent. Michael Chioldi as Jochanaan has a powerful voice as he holds fast in his religious conviction.

Erin Cook, AltDaily
Salome

Michael Chioldi’s strong and pure baritone furnishes the perfect counterpoint to Salome’s heedlessness.

Roy Proctor, Richmond Times-Dispatch
"Salome" opera still thrills in 20th-century update

John the Baptist, as sung by Michael Chioldi, was true to his biblical description: wild-eyed and holy. Rebuking Salome's advances and mercurial infatuation, and piously crusading for Christ, his baritone was pure and piercing.

B. J. Atkinson, HamptonRoads.com
Opera at the Waterfront - Palm Beach Opera

Chioldi next sang the “Te Deum” that closes Act I of Puccini’s Tosca, backed by the illustrious chorus. He was magnificent. His ripe, rich, warm, manly voice soared over the excellent chorus as Scarpia calls out the name of Tosca, the opera singer he most desires.

Rex Hearn, Palm Beach ArtsPaper
Un Ballo in Maschera - Austin Opera

Vocal honours were clearly taken by Michael Chioldi as Renato. Chioldi came late to the production, taking over for a cast member who fell by the wayside, but provided charisma and sheer vocal power that thrilled the audience. His rendering of “Eri tu” in Act III Scene 1 was splendid.

Paul E. Robinson, Musical Toronto
Un Ballo in Maschera - Austin Opera

The standout of the evening was baritone Michael Chioldi, a last minute replacement for the role of Renato. Chioldi's bold and rich timbre is everything one seeks in a Verdi Baritone, and he performs his character with depth and honesty. He was a joy to watch, both as Riccardo's loyal and loving friend, and even more so as his vengeful enemy. His performance alone was worth attending this particular production.

Michelle Hache, BWW Opera World
Un Ballo in Maschera - Austin Opera

Baritone Michael Chioldi was brilliant as Riccardo's friend (and eventual assassin) Renato, his penetrating voice easily filling the 2,000 seat hall.

Peter Mathews, Feast of Music
Un Giorno di Regno - Odyssey Opera

Michael Chioldi, making his Boston debut, stood firmly at the center of the evening as Belfiore, the counterfeit king, possessing a powerful and gorgeously rich baritone voice ideally suited to Verdi.

Kalen Razlaff, Opera News
Tosca - Toledo Opera

What can be said about Chioldi's bad guy, the corrupt satyr, Il Baron, but, wow!

His dramatic baritone with that razor edge and raw vibrancy, added a machismo quality to each encounter, whether with Cavaradossi, his own men, or the leading lady. Chioldi ramped up the intensity to the point where some in the student audience cheered softly as he took in Tosca's dagger.

Sally Vallongo, Toledo Blade
Macbeth - Royal Opera House Muscat, Oman

American baritone Michael Chioldi, as Macbeth, and Hungarian soprano Csilla Boross, as Lady Macbeth, were both captivating. Not only did each impress with their vocal abilities but the chemistry between them was palpable. The supremacy they crave unites them, and despite the moments when the ever sensual Lady Macbeth pushes and criticises her husband, they show a lot of love for each other, represented by their physical proximity on stage.

Chioldi's warm, lyrical baritone and stage presence also revealed multiple characters, from intensely ambitious to paranoid and vulnerable. Boross's range and control were superb, especially in the sleepwalking scene, when she tries to wash the blood off her hands, which is notoriously difficult to sing. Their performances were so memorable and admirable they should be invited back for future performances at the ROHM.

Sarah Macdonald, Times of Oman
Macbeth - Royal Opera House Muscat, Oman

Michael Chioldi is a baritone in great demand, appreciated for his warm, rich tone, and deeply communicative phrasing. Following his stunning debut at the Met in 1995, Chioldi has performed in the major opera houses of America as well as abroad, receiving numerous awards. Michael Chioldi has enormous on-stage charisma, commanding the stage with his impressively powerful and versatile voice. His performance at the ROHM was incredibly moving, frequently taking my breath away.

Dr. Patricia Groves, HI Magazine
Macbeth triumphs at ROHM

In the role of Macbeth the production has the great fortune to have a superb American baritone in the person of Michael Chioldi, a fast rising star in the opera world.

Maurice Gent, OMAN Daily Observer

This passionate night at the opera gained a good deal of its steam from Michael Chioldi in the title role and Francesca Mondanaro as Abigaille. The baritone's hefty, hearty voice filled out the music with considerable vibrancy, and his phrasing consistently hit home. Chioldi's portrayal could have used more animation, but his sterling vocalism more than compensated.

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Tim Smith, Opera News
Odyssey Opera shares rarely heard delights

Michael Chioldi, a bigger than life Belfiore, set the tone for what was best in this account with his robust singing and boisterous presence. The rest of the cast rose to his level to varying degrees.

Steve Smith, The Boston Globe
Odyssey Opera :: 'Un giorno di regno'

As the title "King for a Day," Michael Chioldi proved himself a force with which to be reckoned. He has a baritone of great size and beauty. Furthermore, he sings with musicality and nuance, and is a wonderfully charismatic stage presence. This is a true "Verdi baritone."

Ed Tapper, Edge Boston
A buon Giorno from Odyssey Opera

At the center of the action is baritone Michael Chioldi, who cuts an appealing figure as the uncomfortably conflicted Belfiore - although you might be so bowled over by his voice, which is marked by not only deep color but surprising reserves of power, that you don't even notice his acting chops.

Thomas Garvey, The Hub Review
Odyssey Opera's polished Verdi comedy fit for a king

As the king of the titular one-day reign, baritone Michael Chioldi was the vocal and dramatic standout of the evening. With such imposing regal bearing, it’s no wonder no one questions his masquerade. Yet at the same time he is entirely sympathetic as a man who’s caught between love and honor. He easily dominates ensembles with his dramatic baritone, but just as easily modulates his instrument down to intimate asides.

Angelo Mao, Boston Classical Review
Odyssey Opera Inaugurates June Opera Festival

As Belfiore, the false king of the title, Michael Chioldi, possessed a strong and rich baritone, and if he acted a little pompously in his absurd cardboard crown and sash that was because the role called for it. Still, he gave me chills at the opera’s conclusion when in full resonant voice he proclaimed himself to be the Cavaliere di Belfiore, not the King of Poland.

David Bonetti, Berkshire Fine Arts
Lyric Opera Baltimore offers vigorous passionate Nabucco

Baritone Michael Chioldi was a solid Nabucco, whose elegant singing in the mad scene inspired genuine sympathy.

Tom Huizenga, The Washington Post
Nabucco at Lyric Opera Baltimore

The title character, King Nabucco of Babylon (Michael Chioldi) is a force to be reckoned with. Often storming the stage, his sturdy baritone sound blasts through soldiers, members of court, even the peasants without fear. Shifting dynamically from a powerful leader, to a stricken madman and once more to his position of king, Chioldi delivers a brilliant rendition of this man. His pompous yet empowering solo “Giù! prostrate! non son piu re, son Dio!” creates a harsh contrast to his desperate plea during “Deh perdona ad un padre che delira!” This song of desperation is filled with vulnerability and yearning; a remarkable transition for Chioldi before once more becoming triumphant, yet forgiving in his final number “Ah, torna Israello alle gioie del patrio suol!” - DCMetro Theater Arts

Amanda Gunther, DC Metro Theater Arts
An impassioned, vocally inconsistent Nabucco from Lyric Opera Baltimore

In the title role, Michael Chioldi offered stellar singing, an exceptionally warm, solid tone, and deeply communicative phrasing that got to the heart of Nabucco’s heaven-defying vanity at the opera’s start, his subsequent madness and spiritual awakening.

Tim Smith, Baltimore Sun
Palm Beach Macbeth
Leading the drama were Csilla Boross and Michael Chioldi. Together they conveyed a palpable, youthful chemistry and close interplay revealing seething ambition in thier duets.

Chioldi, in an impressive role debut as Macbeth, brought warm, rich tone to the role. He fully conveyed the dramatic moments, including a very physical banquet scene, while retaining his lyric line to earn cheers for "Pieta rispetto, amore" and his bitter final aria.
Karl Hesser, Opera News
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