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
Michael Chioldi is a strong-voiced, virile, and surprisingly sympathetic Nixon. His brash mannerisms and self-absorbed pomposity perfectly capture the spirit of the president, while his sturdy lustrous tones sends his phrases soaring.
Michael Chioldi (Count Almaviva) wooed, blustered and raged, as strong vocally as physically, using his dark baritone to great effect.
Honolulu Advertiser
The baritone, Michael Chioldi, was an impressive John Sorel as he made his debut with Glimmerglass Opera in their new production of Menotti's The Consul.
The New York Times
Chioldi's interpretation of the Dutchman was really exceptional. He was engaged as a guest artist at Pforzheim, and his sonorous, yet never obtrusive or exaggerated singing, together with his sensitive expression of desperation, set a precedent for the company.
Muhlacker Tagblatt
Total: 173 (Viewing: 151–173)