the official michael chioldi web site

Michael sings HAMLET

with Washington National Opera

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Michael sings Ford from Ft. Worth Opera's Falstaff, and the Letter Scene and the Act 3 Aria from NYCO's Madama Butterfly

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.

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.

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.

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