Baritone Michael Chioldi sang with power and menace, making Count di Luna a love-to-hate-him villain. Read More...
Catherine Reese Newton, Salt Lake Tribune
The Kentucky Opera turned in a production of Puccini’s “Tosca” that opened this season with strong performances by the leads, notably Michael Chioldi as the villain Scarpia.
Elizabeth Kramer, Courier Journal
Puccini's enduring tragedy opened the Opera's season with a bang. Gorgeous costumes, haunting sets and amazing performances by Kara Shay Thomson, Jon Burton and especially Michael Chioldi as the chilling villain Scarpia made "Tosca" a thrill for opera neophytes and aficionados alike.
WFPL News 89.3 FM
Chioldi brings real menace and power to this interpretation with his commanding voice and presence. On such an auspicious night, the performances of the three stars of Tosca were exceptional. Scarpia is played younger than I've seen in other productions ... Chioldi's version is young, dark, and merciless, a Marquis de Sade of strutting and finger snapping authority, who can sing about death-dealing and lust against a background chorus of children singing "Te Deum" in the chapel.
Selena Frye,
Michael Chioldi's Scarpia was especially sinister in his quicksilver switches from aristocratic manners to leering to cool calculation to sheer sadism, his meaty baritone turning to a snarl just when needed. His Act 2 confrontation between Tosca was exquisitely terrifying. Read More...
Scott Cantrell, Opera News
The dapper... (Michael) Chioldi, could sing his part (Lescaut) on any stage in the world. All the singers handled the English translation pretty well, with Chioldi taking the prize for sharp diction.
David Shengold, Opera News
Michael Chioldi gives a nuanced performance as Scarpia with aristocratic manners one moment, leering lust the next, then cool calculation, then sheer sadism. His meaty baritone turns to a snarl just when needed.
Scott Cantrell, Dallas Morning News

Opposing the lovers is the villainous Baron Scarpia, a monster of lust and torture played with real physical menace by baritone Michael Chioldi. He strides the stage in his knee-high boots like he owns Rome. Chioldi's Scarpia is a controlling, vengeful tyrant whose desire for Tosca increases the more she resists him. His deep voice resounds effortlessly, conveying his greed and determination to trick Tosca into making love to him.

Chioldi's range and ease as a singer make credible the attraction of a powerful man—and his will to deceive and seduce Tosca is a terrible force opposing the heroine. He lies with smiling conviction, telling Tosca he will arrange a fake execution of her lover—and safe passage for them both out of the country—if she bows to his pleasure. The scene in Scarpia's rooms when he slams the gasping Tosca onto a table as if to rape her then and there is truly wrenching.

Martha Helmberg, Theater Jones
Musically, the principal singers were appropriately hall-filling in terms of vocal and dramatic presence. ... baritone Michael Chioldi as Scarpia delivered that role as close to perfection as possible—you almost hated to see him die at the end of Act II.
Wayne Lee Gay, D Magazine
The most impressive of the male voices during the evening, was baritone Michael Chioldi in the role of the Baron Scarpia. Even from his first stage entrance, his booming baritone told you that he meant business. What Chioldi excelled at the most was the way he brought out the character. He made you love to hate him, which is exactly how you should feel towards Scarpia. Whether he was perfectly reveling in his sinister plot in Va Tosca! by honing in on a darker sound, or bringing down the house in the incredibly powerful and moving Te Deum to close out the first act, he embodied the roll of the sanctimonious political zealot. But even though the Te Deum might have been the best moment of the evening, Chioldi’s best performance came during his Ha più forte sapore aria. He beautifully played off of the orchestra to bring out the feeling of inner rage within his character, but it was within that show of anger that Chioldi’s voice was allowed to boom out like we heard in his opening lines in the first act, all of which underlined the sickening lines of conquest he was singing, and made you more than ready for him to receive that “kiss” from Tosca.
David Wueste,
Leading the cast is Michael Chioldi. Chioldi's strong baritone fit the virile nature of the roguish Count, and he played his frequent frustration at being outwitted at nearly every turn with laugh-out-loud seriousness.

His was a shining example of how important good, focused theatrical skill (not the hammy stuff of the less experienced) is to selling a character.

El Paso Times
Two of the supporting voices were exceptionally fine, beginning with baritone Michael Chioldi as Sharpless. Here was a consul who made an impact in every one of the acts, and this is the first time I can remember thinking I wish Puccini had written some more for Sharpless to do. Chioldi has a big, rich voice that stood equal in his exchanges with Borsi and Valenti, his singing gave the character real presence, and that did a lot to help fill out the drama.
Baritone Michael Chioldi sang Sharpless, the American consul, about as well as it can be sung, with a rich, powerful voice that filled out the back story for this secondary figure (and audience approval was clear at curtain).
As Sharpless, the baritone Michael Chioldi handled the role in an assured, confident manner, conveying moral decency and concern for Pinkerton's victims, all with a subtlety and realism that allowed him to show disapproval for Pinkerton with a glance or gesture. His grave voice worked well with Valenti's brighter instrument, radiating compassion in Io so che alle sue pene and at the end of the opera.
South Florida Classical Review
The cast of Lyric Opera of Kansas City's Turandot included a fine trio with Ping sung by Michael Chioldi, (the evening's loveliest voice).
Opera News
Michael Chioldi was a memorable Enrico, summoning a warm, hearty sound and putting a darkly communicative spin on every phrase. He made the most of the chilling attributes added here to the character; in addition to the doll business, this Enrico stumbled into the Wolf Crag's scene carrying an obviously well-sampled flask, and, as the final curtain fell, coolly twisted the neck of a wounded, pleading Edgardo.
Opera News
Michael Chioldi also delivers as Enrico. It has been quite a while since I've heard a baritone who can produce as rich a sound and so much vividly communicative phrasing into Enrico's Act 1 aria. Throughout, Chioldi uses his vocal and dramatic resources in rewarding fashion.
Baritone Michael Chioldi portrays Enrico as a cold, twisted psychopath. Mr. Chioldi's Enrico exhibits further signs of depravity early in the opera's second half. He's quite the villain in this production, and underlines his character's inner motivations with an effective, menacing vocal delivery. His scenes with Edgardo, Saimir Pirgu crackled with tension.
Washington Times
As dominating brother Enrico, baritone Michael Chioldi walks a fine line. It's not easy being a repugnant character, especially with Alden's interest in suggesting, at worst, the incestuous, and at best, a thorough unpleasantness, but Chioldi keeps Enrico as compelling as he is awful. Chioldi sings with a rich, beautifully flexible tone, serving Donizetti's somber score well.
[In Glory Denied] Chioldi gave us the climactic song, "Welcome Home", and what a knock out that was. Structured as a list of newspaper headlines and topical phrases, Chioldi shaped every image with a mounting sense from bewilderment to embittered outrage. He gave us the whole experience of bombardment from culture shock in one nugget of a song.
DC Theatre Scene

Moving as well was the performance of baritone Michael Chioldi as the hapless, yet compassionate American consul, Sharpless. Mr. Chioldi seems to understand deeply the role of a professional diplomat, a person who, while representing his country and standing up for its citizens abroad, must also understand and respect the traditions and the people of the country to which he’s posted.

Mr. Chioldi articulates all this and more with great understanding and compassion by means of superior acting skills and an assured, profoundly moving instrument.

Washington Times
Tonio was sung by Michael Chioldi. His top was brilliant, and the prologue won its just applause. His acting as both Tonio and Taddeo was deeply ingrained.
Opera News
Michael Chioldi sang the conniving Tonio with bold urgency, especially his magnificent Prologue. And as Leoncavallo intended, Tonio – not Canio - speaks the opera's final words, "La commedia e finita," in this production.
Chioldi makes his performance as Tonio in Pagliacci just as convincing as that of a foursquare teamster [in Cavalleria Rusticana] moments before. His voice is a vigorous baritone, pleasantly gruff when he wants it to be, suave at other moments; in either case his dramatic inspiration never flags.
The Daily Chautauquan
Most crucially, the title role was persuasively performed by baritone Michael Chioldi, who offered an admirable evenness and warmth of tone, consistently sensitive phrasing... this was very potent singing. His acting, too, hit home. He conveyed the character's brush with madness tellingly, and, in the confrontation with the frightened Gertrude (one of the opera's most inspired passages), Chioldi hit a dramatic peak to match the vividness of his vocalism.
The Baltimore Sun
Michael Chioldi's Hamlet was a three-dimensional character, on the edge of madness from the outset, yet capable of clear-headed resolve. The baritone used his warm, supple voice to put a consistently compelling spin on his phrasing.
Opera News
Baritone Michael Chioldi is magnificent as Hamlet, a young man who is less mad than full of rage. Chioldi sings a wide range of music throughout the opera, most notably a melancholy recitative lamenting his situation, a moving love duet with Ophelie in the first act, a rousing drinking song, as well as the beautiful aria "To Be or Not to Be." Chioldi handles this variety easily, exhibiting great strength, sensitivity and nuance.
Washington Examiner
Michael Chioldi was appropriately somber and pensive as Hamlet, with a rich, almost Russian voice that centered the production all evening. Thomas' Hamlet is a huge role, obviously taxing to the soloist. But Mr. Chioldi never faltered in his performance.
The Washington Times
Michael Chioldi is a forceful presence as Hamlet. He walks the razor's edge of madness for the entire evening, singing with a firm, round tone and meeting all of the role's considerable physical and vocal requirements. His best scene is in the second act, where he dominates the staging of the play-within-a-play, narrating The Murder of Gonzago like a '40s crooner. His "Être ou ne pas être" was completely introverted and thoughtfully sung.
Baritone Michael Chioldi produced a superb Nixon, comic but sympathetic as well, crisp of diction, firm of phrase and tone.
Opera News
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