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
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
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, Pittsburgh Post-Gazette
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, Bachtrack
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
La Boheme
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, ConcertoNet
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