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. Read More...
— Tim Smith,
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,
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,
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,
Florida's classical scene has a 'Burgh feel
Palm Beach Opera offered another early Verdi, "Macbeth," in a lively staging by Bernard Uzan and starring Westmoreland native and Pinza Foundation alumnus Michael Chioldi. He proved himself a powerful "Verdi baritone," rare in opera these days.
— Robert Crone,
All the fun of the fair: A vibrant, busy La bohème at the Royal Albert Hall
The singing, when it wasn't being distorted by the microphones, was lovely. For me, Michael Chioldi was the strongest of the company, not only singing, but also acting well as a gruff, bewildered, romantic Marcello with a touch of Liam Neeson (always a plus).
— Charlotte Valori,
Francesca Zambello's Bohème Extravaganza a Brilliant Success
So this La bohème packed a musical punch, as well as, scenic and dramatic ones. It was a fine cast, with the Rodolfo and Marcello being particularly exceptional, and the excellent backing of the Royal Philharmonic Orchestra, ad hoc chorus and Capital Arts Children’s Chorus under Oliver Gooch’s guidance that brought a surprisingly subtle freshness to the very recognisable score.
Michael Chioldi was a likeable and finely sung Marcello (actually he looked and sang like a young Bryn Terfel).
— Jim Pritchard,
Seen and Heard - International
Bohemian rhapsody that attacks from all angles
The opera is so well cast ..... as Marcello, Michael Chioldi is richly characterized.
— Hilary Finch,
The London Times
Michael Chioldi’s Marcello, a reassuring presence, is vocally strong. Thankfully all are into their stride by Act III - the lovers’ emotional quartet, on a deserted railway platform, is the musical and dramatic highlight.
— Graham Rogers,
The Stage UK
PBO's 'Macbeth,' first cast: Chioldi, Boross impressive; Panikkar a discovery
As Macbeth, the American baritone Michael Chioldi, returning to West Palm Beach for the fifth time in 10 years (he was Germont last year for La Traviata), gave a compelling, intense performance. His voice has darkened in recent years, and that added heft and seriousness to his portrayal, which was a debut role for him this past weekend.
From his first entrance, Chioldi’s voice was bronze but youthful, and when it came to his fine reading of the great Act IV aria Pieta, rispetto, amore, that quality made him sound like a vigorous man cut down in his prime rather than a haunted, shaken shell. He sang beautifully throughout the opera, and this is a good role for his voice type and physical stature.
— Greg Stepanich,
Palm Beach Arts Paper
Macbeth earns 'bravi' for excellent music, vocals, lighting
In the title role, Michael Chioldi received many well-deserved bravi throughout the evening. His acting was convincing; his singing nuanced and secure; and his diction was, by far, the best of the production. He is a mature artist, and one hopes to see him returning to Palm Beach Opera in upcoming seasons.
— Marcio Bezzera,
Palm Beach Daily News
The Scottish Opera Scores!
The cast makes this piece what it is. Singers not up to the musical and dramatic demands can sink it fast. Palm Beach Opera got not only two singers playing the Macbeths who have the goods vocally, but they are ideally matched for the story.
Michael Chioldi understands that, though his role is subordinate, he must never let our attention on him be overshadowed. His opening duet with the sensitive Banquo of Richard Wiegold shows a baritone in full control - but the character must show a sensitive side or we will not believe the moments when he shows cowardice. His terror upon attempting to kill Duncan and his confusion when seeing Banquo’s ghost are completely believable, even quite sad, never stooping to the potential melodrama. The role of Macbeth often gets overlooked in performance and even on recording (the great Leonard Warren couldn’t make the Thane any more than a supporting character to Leonie Rysanek). Chioldi has a beautiful tone which is particularly evident even at the end of the opera when he delivers a strongly focused "Pieta, rispetto, amore" (am I the only person who finds this beautiful aria belongs in a different opera?); then he completes the scene with a "Mal per che m’affidai" that is appropriately pathetic.
— Jeff Haller,
But the star of the show was baritone Michael Chioldi as Joan's father. Chioldi, doubling as a sort of onstage manager, sang with unfailingly glorious sound. Read More...
— Richard Covello,
Stonikas was brilliant in her role debut as the eponymous princess with a taste for perversion. Chioldi was equally impressive as Jochanaan. Charismatic and magisterial, with capacious vocal heft, he provided a strong counterpoint to the court's depravity.
— Robert Coleman,
Michael Chioldi emerged the strongest of the principals with his stylishly vocalized, intelligently nuanced Giacomo. He was excellent in this earlier idiom; I would love to hear him do an Ernani Carlo.
— Mark Ketterson,
Don Carlo Verdi wrote an opera lover's dream, and Austin Lyric Opera realized it
Some of the strongest energy came from Michael Chioldi's Rodrigo and James Valenti's Don Carlo, a beautiful bromance cemented at the end of the first act with their impassioned duet "Dio, Che Nell'alma Infondere Amor." The strength of this relationship was consistently vital, serving as an important thread throughout the opera. Chioldi's voice was especially expansive, projecting the spirit of the character.
— Natalie Zeldin,
The Austin Chronicle
Michael Chioldi is fantastic and thrilling to hear as Rodrigo, Carlo's friend and a fierce protector of the Flemish who are at war with Spain.
— Jeff Davis,
"Don Carlo" Kills at Lyric Opera
Michael Chioldi as Rodrigo was excellent.
— Pat J Dixon,
The Austin Post
Review: Austin Lyric Opera's "Don Carlo"
...one of the production’s outstanding vocal talents.....Rodrigo (baritone Michael Chioldi) tries to remain steadfast and upbeat while his friend plays with decisions that could bring certain death......But the voices come first in this production, and luckily for us, the skilled singers and the musicians who accompany them transport us very nicely indeed.
— Luke Quinton,
Utah Opera's 'Salome' offers chills and thrills
Baritone Michael Chioldi brought palpable charisma to the role of the unfortunate object of her affections, John the Baptist (called Jochanaan in the Oscar Wilde play on which Strauss based his opera).
— Catherine Reese Newton,
Salt Lake Tribune
"By far the best of the three principal artists was Michael Chioldi as the relentlessly obsessed Giacomo, whose big, open baritone had the power, lyricism and, above all, the style needed to do justice to early Verdi. The father's forgiveness and benediction were among the vocal highlights of Saturday's performance." Read More...
— John von Rhein,
"Place of honor, however, must go to baritone Michael Chioldi as Giacomo, Joan's father. Baritones have never been in short supply in opera; however, Chioldi's voice and his performance indicate that he would stand out, even in a distinguished group, which is not necessarily a description I would apply to any voice range in opera today. Mr. Chioldi possesses a voice of exceptional power and stamina; his performance was not merely special, it is one that I will not forget as long as I attend opera. I feel confident Chioldi could step into any baritone role with any opera company in the world and stand up not only any of his contemporaries, but also invite comparisons with great baritones of the past." Read More...
— Adam Dahlgren,
Los Angeles Splash Magazines
"Moreover, Michael Chioldi—an Emmy award-winning baritone/sect leader who plays Joan’s father—was my favorite of the night; I very much enjoyed Chioldi’s performance that is at the same time convincing, infuriating, and heart-wrenchingly beautiful. The final act gave me chills (it was so stellar I would love to experience it again)." Read More...
— Anna Dron,
"The soloist that “literally” turned on the lights for the audience was Michael Chioldi in his outstanding performance of Joan of Arc’s father, Giacomo. During the few moments in the opera without some sort of distraction, one of his arias would arrive and quell the storm of Verdi choruses that proceeded. He acted not only as father to Joan, but also to the company of singers as they continued their religious activities."
— Daniel Grambow,
Chicago Opera Examiner