Maestro Marco Parisotto "gambled" entrusting the lead to Michael Chioldi. It was a privilege to hear him debut this role and who, I am sure, will inherit the baton of the great Rigoletto of our time, Leo Nucci. What a great, powerful voice and what an enthralling actor. It is the most emotional and compelling Rigoletto I've seen live.


Lazaro Azar, Reforma
Superb Talent in Utah Opera’s Tosca

The highlight of opening night was the chemistry between soprano Kara Shay Thomson as Floria Tosca and Michael Chioldi as Baron Scarpia. Chemistry often implies flirtation or sexual attraction, but in the case of Tosca and Scarpia the chemistry was her palpable disgust at his touch, and his brutish lust. Chioldi first caught my attention in Utah Opera’s 2012 production of Il Trovatore. I had high expectations for his portrayal of Baron Scarpia and he exceeded those handily. He seemed to relish the opportunity to portray such a menacing character so well.

Sara Neal, The Utah Review
Tosca - Utah Opera - A Tour de Force

The fact that Thompson's Tosca holds her own with the savage police chief, Baron Scarpia — one of the most vivid villains ever to grace the opera stage — is no small feat, especially when Scarpia is played by as strong a singing actor as baritone Michael Chioldi. His performance on Saturday was a tour de force, so expertly shaded that listeners could hear as well as see the charm, the casual cruelty and the terrifying outbursts of brutality.

Catherine Reese Newton, Salt Lake Tribune
Le Cid - Odyssey Opera

Resplendent in tailored suit and red pocket handkerchief, baritone Michael Chioldi made a jut-jawed figure as the all-powerful but clueless King of Castile, whose arbitrary choice of Rodrigo’s aged father over the ambitious Count of Gormas for a prestigious position at court is the “insult to honor” that starts the opera’s chain of retributions. Although his character tended to defer to God or even to Chimène when deciding whether to punish or promote Rodrigo, Chioldi’s clear, powerful singing kept up regal appearances.

David Wright, Boston Classical Review
Le Cid - Machismo and Passion in Grand Opera Style

Michael Chioldi brought a fine strong baritone to the role of the King.

Steven Ledbetter, Classical Scene
Odyssey Opera’s “Le Cid” — Romantic Turbulence

As Don Fernand, the indecisive and rather oblivious King of Castile, Michael Chioldi sang with regal tone and vocal power to spare. His stentorian bass gave the illusion of anchoring the turbulent emotional action unfolding around his character, even as the King actually drove it, vacillating on making important decisions and ignoring (and offending) important ministers, thus setting in motion Le Cid’s dramatic trajectory.

Jonathan Blumhofer, The Arts Fuse
Massenet's Le Cid

Michael Chioldi was an elegant and resonant King of Castile....

Jeremy Eichler, Boston Globe

Michael Chioldi was a multifaceted Macbeth. There was colour and nuance in his big, sturdy baritone, and his acting left nothing to be desired.

Arthur Kaptainis, The Chautauquan Daily

Chioldi sang a powerful version of the "Tomorrow and tomorrow..." soliloquy then fought a physically demanding battle which ended in his character's fatal wounding, then offered a dying aria which wrung the heart.  What an amazing treat to have such singing taking place in our county.

Robert W. Plyler, The Post-Journal, Jamestown, NY
Michael Chioldi as Ford

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

Jeffrey Gantz, Boston Globe
Michael Chiold as Ford getting schooled.

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.


Steven Ledbetter, The Boston Music Intelligencer
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.


Review: New Orleans Opera’s Spectacular Lucia di Lammermoo
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

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

Erin Cook, AltDaily

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,
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.

Tim Smith, Opera News
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