Website: www.michaelchioldi.com
Luisa Miller - Gran Teatro del Liceu

Beczala is well complemented by the remarkable Miller of Michael Chioldi, brilliant at the third act.

Luisa Miller - Gran Teatro del Liceu

The rest of the company also worked well including the brilliant, powerful, and well phrased Miller of Michael Chioldi.

La Vangardia
Luisa Miller - Gran Teatro del Liceu

It is not easy to program Luisa Miller, among other things because beyond the protagonist couple, it requires four other important voices (a baritone, a mezzo and two basses), almost like a Don Carlo. Michael Chioldi's Miller - whose timbre at times reminds one of the great Sherill Milnes - succeeded by the use of his powerful voice and thoughtful phrasing, especially in the second half of the show (splendid next to Radvanovsky in "Andrem raminghi e poveri".)

Platea Magazine
Luisa Miller - Gran Teatro del Liceu

Michael Chioldi - A perfect Miller

Operamia Online

Baritone Michael Chioldi, a local favorite, has appeared in major roles in five Austin Opera productions since 2013, and should be appearing regularly in all the leading houses in North America and Europe. A commanding figure on stage, his voice is enormous; he was totally credible as Iago, the very incarnation of evil.

Paul E. Robinson, myscena.org

Desdemona’s infidelity is a lie sold to Otello by his venomous ensign, Iago. Michael Chioldi, a familiar face and voice with Austin Opera, embraced the character’s malevolence with a macho swagger – feet set apart, arms thrown open, smile broad.

Robert Faires, Austin Chronicle.com

Red faced and evil-eyed Iago, played by Michael Chioldi, was venomous - much to the audience's delight. With Verdi's thematic focus of Catholicism, Iago's motivation differed from classical vengeance and more so as if our antagonist wore a friendship bracelet with the devil. A highlight BWW Review: Austin Opera Festively Reimagines Verdi's OTELLO in Austin, TXfrom Chioldi's performance was his rendition of "Inaffia l'ugola" or for the average audience member, "the drinking song from OTELLO". The coloratura Chioldi delivered was catchy and invited the audience to revel in his wickedness.

Amy Tarver, Broadway World.com

In a pleasing return, baritone Michael Chioldi’s voice has grown and ripened into something quite powerful since his appearance in WNO’s Lucia in 2011. Tall and ramrod straight of spine, he growled and threatened as Germont.

Charles T. Downey, Washington Classical Review

The villainous "Baron Scarpia" was superbly played by the baritone Michael Chioldi, who - in a powerful and well-modulated voice – matched the histrionic demands of the evil police chief who devises a Machiavellian intrigue to subdue to his lascivious deliriums the desperate Tosca who is willing to do anything to save her Cavaradossi from the scaffold . During the second act, Chioldi took hold of the audience's hatred; and the thunderous ovation he received at the end was a just recognition of his carats.

Mario Alegre-Barrios, www.estoeselagua.com

Baritone Michael Chioldi was extremely impressive in his portrayal of what is lowest in a human being. He took on Scarpia with absolute commitment: he abused his power, cursed, lied and tried to rape Tosca, dying by her knife in his attempt. His performance in the demented sequence of scenes during the second act, shares the masterful capacity to sing and embody evil that brought international fame to Justino Díaz.

Louis Enrique Juliá, El Nuovo Dia

American baritone Michael Chioldi scored a triumph as Gérard. His is a fine-grained instrument, wielded with power and finesse. Excellent not only in his singing but in his acting, he relished the chance to explore the contradictions of Gerard, certainly a character of greater complexity than many of opera’s baritone antagonists.

Eric Myers, Opera News

My personal favorite of the evening is Michael Chioldi as Germont, Alfredo's father. Chioldi wrings every ounce of feeling from every note he sings and brought tears to my eyes with his forgiveness and grace.

Lynn Beaver, Broadway World

American Baritone, Michael Chioldi also had a double debut, who sang his first Carlo Gérard at the Liceu. His voice pleasantly surprised from its first moment having great dimensions and with generous harmonics, complex timbre and a dark color ideal for the role. Here his verismo voice sounded ideal for the performances, equaling the orchestral grandiosity with ease, a homogeneous and unalterable tessitura and a facility in the upper register of great power. With correct diction, Chioldi can only be reproached for improving the fluency of phrasing, he has a tendency to sing on the granite of the instrument that at times can remind one of the mythical Sherrill Milnes.

Jordi Maddaleno, Platea Magazine

Chioldi became more comfortable as the opera progressed and “Lacrime e sangue dà la Francia!” justifiably deserved the donations from the ostensibly impoverished cittadine. There was powerful singing in the pivotal “Nemico della patria” aria with some robust marcato top E naturals on “e mentre uccido io piango!” The burst of lyricism on “La coscienza nei cuor ridestar delle genti” built to a wonderful climax with a rock-solid sustained F sharp on “un sol bacio.” By the fff top F sharp on “saprò” before the trial scene, Chioldi was very much on vocal terra firma.

Jonathan Sutherland, Operawire.com

The baritone role claims centre stage right from the start which Michael Chioldi ably achieves; he also received a fine ovation for «Nemico de la patria». As far as I can tell this was his European debut in a staged opera - he seemed pleased with his reception as well he should be.

Michael Johnson, ConcertoNet.com

Baritone Michael Chioldi was the star of the evening in this production. Of the principals, his was the most realistic portrayal, with a baritone which was plangent and multi-layered. There was a feeling of sorrow that I felt for his Baron which I have never felt for Milnes, Morris, MacNeil, or any of the other Scarpia's of my generation. His ardor and lust for Tosca was obvious, but he managed to convey a loneliness and tenderness that heretofore has been missing in many portrayals of my experience. His singing of his act two aria, "Ha piu forte sapore" was a highlight.

Jeffrey Bruce, Talkin' Broadway

Michael Chioldi’s Scarpia commands the stage and infuses the chief of police with the evil that he acknowledges when he compares himself with Shakespeare’s arch-villain, Iago, a portrayal distinguished by vocal power that rages over the excellent chorus and orchestra without compromising timbre or intonation, yet is sweetly lyrical when Scarpia feigns civility.

David M. Rice, Classical Source

Even more fully-shaped and masterfully depicted was the Scarpia of Michael Chioldi, a favorite with this company – and justly so. Chioldi is the complete artist: a genuine singing actor with a large gorgeous baritone sound, expert musicianship and stage savvy that makes every one of his portrayals a believable human being. In this case, the “human” element was appropriately lacking. Chioldi’s Scarpia was the personification of evil, stentorian in sound but also subtly nuanced and quite terrifying.

Robert Croan, Palm Beach Daily News

Baron Scarpia, the police chief of Rome, appears on most opera lovers’ lists of favorite villains, with his effortless hypocrisy and Dracula-like pleasure in his own evil. His black cape swirling as strutted around the stage, a leather riding quirt in his hand, the baritone Michael Chioldi gave a convincing portrait of a man wholly untroubled by conscience as he used spies and torture to pursue a sexual obsession.

Chioldi made a strong and aptly villainous impression. He brought lusty relish to his voice as he described Cavaradossi’s torture to Tosca, alternately bullying and cajoling her as her pursued his true goal.

David Flesher, South Florida Classical Review

Michael Chioldi’s clear diction and strong projection left the audience wishing that Abimélech did not have to meet his demise so early in the plot.

Rebecca Dowd Geoffroy-Schwinden, Opera News
Samson and Delilah - Virginia Opera

As the High Priest, Michael Chioldi delivered a robust, muscular tone and kinetic phrasing, while conveying the character’s slimy side with extra flair...

Opera News

As an example of luxury casting, the Dallas Opera engaged the impressive American baritone Michael Chioldi for the relatively brief role of Abimelech.

Chioldi, who is usually entrusted with lead roles [see Michael Chioldi, Micaela Oeste Enrich Washington National Opera’s Theatrically Absorbing “Hamlet” – May 22, 2010] gave a solid performance as the embattled Philistine.

William, Operawarhorses.com

The rest of the cast is equally strong (as Borodina and Forbis).  Michael Chioldi brings Abimélech to life.

Gregory Sullivan Isaacs, Theater Jones

Michael Chioldi, in the role of the vicious Abimelech, gives a spirited and naturalistic performance, but is dead by the middle of Act 1.

Arnold Wayne Jones, Dallas Voice

A very strong supporting cast matched the vocal qualities of Borodina and Forbis with baritone Michael Chioldi as Abimelech.

Wayne Lee Gay, Texas Classical Review

Similarly did baritone Michael Chioldi (High Priest of Dagon)....... deliver impressively strong singing and solidly dramatic performance, helping direct adversarial thoughts about power and religion.

John Shulson, The Virginia Gazette

Michael Chioldi as the Priest offers an earth-rumbling baritone with peals of power and an artist’s precision.

Andy Garrigue, Richmond Times - Dispatch

Michael Chioldi’s High Priest, by contrast, oozed confidence and vocal power to match Goeldner, giving the listener no doubts about who was really in love with whom.


Charles T. Downey, Washington Post

Notables from the supporting cast include Michael Chioldi as the High Priest of Dagon and Stefan Szkafarowsky’s portrayal of an Old Hebrew. Chioldi is sonorous and strong like a trombone with a commanding presence.

Brett Dodson, MD Theatre Guide.com

The baritone Michael Chioldi as the High Priest of Dagon has a powerful Act II show-down with Delilah and makes the character straightforward and unwavering.

Mal Vincent, The Virginian-Pilot

Michael Chioldi gave the High Priest of Dagon a lecherous interpretation with his commanding voice.

Paul Kuritz, Paul Kuritz, Theatre and Film

Lending a great voice to tragedy -

Wednesday’s dress rehearsal at the Marble Museum proved a beautiful and deeply powerful experience, up close and personal.

But it was the storytelling that was most impressive. Chioldi, who made his Metropolitan Opera debut in 1996 in “Andrea Chenier” with Luciano Pavarotti, is a big-voiced baritone with a broad palette of colors at his disposal.

Although this work is sometimes performed by three singers, Chioldi moved from one character to another. The text ranges from commentary by Knut Fraenkel, who chastises the leader’s ego, credited with the expedition’s demise. Much more personal are Strindberg’s letters to his beloved wife, Anna, from excitement to loneliness. And Andrée’s are more factual and, in their own way, more haunting.

Argento and, in turn, Chioldi created a dramatic and emotional arc that drew the audience into this intimate storytelling. Although the baritone was suffering a cold Wednesday, his expression delivered the intensity of the drama and the depth of the characters’ experience. It didn’t hurt that Chioldi’s diction was outstanding, making it very easy to follow.

Jim Lowe, Rutland Herald
Falstaff - Opera Saratoga

Craig Colclough—also Arizona Opera’s Falstaff—repeated his grandly vocalized, specific and convincing portrait. His strong baritone was matched by the idiomatic, incisively sung Ford of Michael Chioldi. Chioldi and the wonderfully enjoyable Caroline Worra made a sexy couple, well matched in refulgent sound and pointed word painting.

David Shengold, Opera News

Baritone Michael Chioldi as Ford belted out arias in the second act that were memorable for their passionate intensity.

Geraldine Freedman, The Daily Gazette

Michael Chioldi, an impressive baritone whose rich tone and gorgeous, dark timbre, coupled with his soulful, honest approach to Sharpless, makes his my favorite performance.

Michelle Haché, The Austin Chronicle

...a truly world class experience, from the first moments until the final heartrending notes, every breathless second holds the audience in rapt awe. The entire cast is magnificent, every note is perfection, a study in beauty and passion. Michael Chioldi as Sharpless, gives a heartfelt performance as a man caught between the two lovers.

Lynn Beaver, BroadwayWorld.com

Michael Chioldi’s smooth baritone and stagewise presence made him a memorable Ondino, especially appealing when singing such nonsense syllables as “Brekekekex! Brekekekex!” and “Quorax! Quorax!”

Eric Myers, Opera News

But everyone really sat up and took notice each time Michael Chioldi sang a few measures as the lizard Ondino. His two solos expressing his longing for Rautendelein pealed out in a huge, rich baritone that made one long to hear him take on the greatest of Italian baritone roles, from Verdi’s Macbeth to Zandonai’s Gianciotto.

James Jorden, Observer.com

Michael Chioldi as her friend and later her husband, the lizard, has a big and beautifully colored baritone voice.

Arlene Judith Klotzko, The Opera Critic

The outstanding exception was baritone Michael Chioldi, as l’Ondino, a water spirit. He was consistently audible, expressive, in character, spontaneous, and fully related to everything onstage. This was a lovely, deeply considered performance, all the more remarkable for being carried out in a reptile-suit, with a tail.

Christopher Johnson, ZEALNYC.com

Standouts among the large cast include the baritone Michael Chioldi, who booms and blusters as Ondino, king of the frogs, covered in scales.

Anthony Tommasini, New York Times

Baritone Michael Chioldi, a smooth, even tone with an aura of menace.

John Yohalem, Parterre Box
La Campana Sommersa - NYCO

..and Michael Chioldi's stentorian baritone was heard to imposing effect as L'Ondino.


One of the opera’s most amusing characters is L’Ondino, winningly played by Michael Chioldi, whose bold voice often announced his presence uttering “brekekekex,” an onomatopoetic word that librettist Claudio Guastalla borrowed from Aristophanes’ play, The Frogs. Chioldi also sports one of the most elaborate costumes—one of a handsome array designed by Marco Nateri—that seemed to merge The Creature from the Black Lagoon with the Cowardly Lion from The Wizard of Oz.

Bruce Hodges, New York Classical Review

The best voices in this cast were Michael Chioldi as L'Ondino and Glenn Seven Allen as the Faun. Despite having to spend half of his stage time singing nonsense syllables ("Brekekekxet!"), Chioldi produced a noble tone and compelling presence. despite having to wrestle with claws, full head makeup and a long and unwieldy tail.

Paul J. Pelkonen, Superconductor

The best voices of the night were Michael Chioldi in the role of Ondino, a rich and warm voice baritone, and Kristin Sampson as Magda, a good-natured lyric soprano who conveyed the disbelief and despair of the ringer's wife.

Pedro J. Lapeña Rey, Codalario.com

Our lizard, Michael Chioldi, looks like he could catch flies, but his voice was stentorian.

Harry Rolnick, Concertonet.com

In the title role, Michael Chioldi, who had a big success here two years ago as Macbeth, once more proves himself a genuine Verdi baritone – by definition a unique dramatic vocal type with a big, trumpet-like sound that can weather sustained singing in the highest part of the range. The very sound of Chioldi’s voice is quite thrilling, but he adds to this a three-dimensional characterization that has the viewer hating the jester’s cruelty at the start, yet feeling his anguish – notably in Rigoletto’s great solo, Cortigiani, where the clown lets down his defenses and implores the vicious courtiers to return to him his kidnapped and ravished daughter.

Robert Croan, Palm Beach Daily News

A magnificent central role performance and some marvelous supporting voices made Palm Beach Opera’s production of Giuseppe Verdi’s Rigoletto one to admire and remember.

Returning to this 1851 mega-hit after an absence of nine years, the troupe’s A-cast mounting was led by baritone Michael Chioldi, who should be close to considering Palm Beach Opera his home company. His strong, rich, mellifluous voice keeps getting better each time he appears, and on Sunday afternoon at the Kravis Center, he unleashed an instrument that was huge and powerful from the beginning and that never lost one iota of strength.

Chioldi has been moving into the Verdi dramatic roles in recent years (he did Macbeth for Palm Beach Opera in 2104), and it suits him ideally. In his reading of the tortured man of mirth for whom his daughter is the only thing that keeps him donning the motley every day, Chioldi made Rigoletto’s anguish and fury plain.

Greg Stepanich, Palm Beach Artspaper

Michael Chiold’s warm and powerful voice and evocative acting made Rigoletto a believable character, whether mocking Ceprano and Monterone and when he himself is treated cruelly and suffers unimaginable grief. Rigoletto’s plea for the return of his abducted daughter, Gilda, Chioldi projected a gamut of emotions, from rage to sorrow, reduced to begging for pity. His outcry over Gilda’s lifeless body in the final moments was delivered with great emotional impact.

David M. Rice, Classical Source.com

The baritone Michael Chioldi captured all sides of this complex character, in an affecting, powerful portrayal. At first, it appeared this would be a Rigoletto in which the character’s bitterness, darkness and aggression would predominate. As he mocked the nobleman Monterone, Chioldi drew out the notes, ramping up the derision in a manner that was more subtle than the usual clowning seen in opera. With his large voice, the aria “Pari siamo,” in which he meditates on what he does for a living, came off with cavernous dark tones. And he gave a thunderous cry of rage and horror, “Ah, la maledizione!” when he discovers his daughter Gilda’s disappearance.

He expressed his love for her through violence, pushing her maid around as he demands that he keep her safe. Later in the opera, as he pleads with the courtiers to return her, singing in the Duke’s cold court, he gave a deeply moving performance, singing “Marullo, Signore,” with melting warmth.

David Fleshler, South Florida Classical Review

Michael Chioldi was a force of nature as Iago. His is a true Verdi baritone: a big voice with wonderful legato and clear diction, dark-timbred but with shining high notes. He also has a magnetic stage presence.

Ingrid Haas, Opera Magazine

But the one who stole the show was Michael Chioldi, a superb baritone whose large, and very well-toned voice as well as his huge and intense histrionic capacity gave us an Iago that would have delighted Verdi himself, who on more than one occasion thought that this opera should have been named for this character.

Lázaro Azar, Sotto Voce

Also, making his debut in the role, U.S. baritone Michael Chioldi, did so on a great level. Iago is a role that requires the greatest sinuosity. Verdi and Boito sought to create the essence of evil, both perfidious and subtle. Chioldi handled his powerful sonorous instrument with intelligence, shading his singing, and interpreting step by step the development of evil until the crowning moment of his “Credo en un Dio crude!” 

Federico Figueroa, Opera World

Michael Chioldi was a force of nature as Iago. Here is a voice of a true Verdi baritone: big, with impeccable technique, wonderful legato, dark timbre with shining high notes and a clear diction. He also has a magnetic stage presence and embodied Iago to perfection. One of the highlights of the performances was his "Credo in un Dio crudel", which he sang with Machiavellian flavour. His brindisi in Act I was also superbly sung and he knew how to create a rich portrayal of the character, full of nuances and colors, without falling into the confort zone of just being the "bad guy". His scene and duet with Savage's Otello "Desdemona rea?... Era già notte... Sì pel ciel marmoreo guiro" was another highlight of the performance.

Ingrid Haas, Opera Click

“Another impressive singer was the American baritone Michael Chioldi, the embodiment of the evil and jealous Iago, whose powerful, masculine, robust and dramatic voice gave us a singing for the books.”

Mauricio Rabago Palafox, Proceso.com

The Filarmónica de Jalisco presented an Otello to a full audience on a high level that has not been seen in recent memory in Mexico. Some highlights were the Credo and si per ciel of Michael Chioldi as Iago.


Jaime Garcia Elias, Informador.MX
Es el Panuelo que le di como primers prenda de mi amor

The singer-actors were believable and eloquent. They thrilled and excited with their voices. They created their characters, gave them skin, body, soul and guts.

Especially the Iago of the American baritone Michael Chioldi, who adds one more to his Verdean villains, of which he is becoming one of the worlds specialist: Evil and hypocrisy are with him part of his terrifying being.

Manuel Yrizar Rojas, MYR Facebook Blogpost
Macbeth - New Orleans Opera

As the title character, Michael Chioldi's rich baritone voice powered relentlessly through the music, his earthy resonations packing a real punch. Ambitious and authoritative, he is the ideal portrayal of one of the most infamous characters put to page. Watching his psyche splinter as his paranoia increased in the second act was projected well. Overall, his character's development was exciting to watch as the intensity of his emotions came in waves, from his first spark of ambition, to the dismissal of his wife's suicide, to his lamenting death as he curses the witches who brought this fate upon him. This was an ideal portrayal of Macbeth.

Resonating off the walls of the theater, the audience made their appreciation known for the vocal deliveries of the singers, specifically during Macbeth's lamentation aria "Pieta, rispetto, amore" and Macduff's vengeful "Ah, la paterna mano."

Tara Bennett, Broadway World
Pagliacci - Virginia Opera

As Tonio, Michael Chioldi delivered the Prologue with startling impact, his burnished tone matched by dynamic phrasing. The baritone's singing remained impressively muscular throughout the opera.

Tim Smith, Opera News
Macbeth - New Orleans Opera

Michael Chioldi was a fine choice for the title role. With his deep, resonant baritone, he was able to project his dark, foreboding, haunted character in precisely the manner the composer intended. By the final act, with the audience fully convinced of his villainy, he nonetheless evoked sympathy with his lamentation aria, “Pieta, rispetto, amore” (Pity, respect, love), and his dying aria, “Mal per me” (Badly for me), in which he curses the witches who foretold his fate.

Dean M. Shapiro, The New Orleans Advocate
Pagliacci - Virginia Opera

The opening aria sung in front of the curtain by Tonio (Michael Chioldi), takes things to soaring heights right away, with Chioldi demonstrating world class power, tight control and harrowing emotion, setting the bar high for the rest of the show.

Andrew Garrigue, Richmond Times-Dispatch
Pagliacci - Virginia Opera

Soprano Kelly Kaduce sang Nedda, the adulterous wife who pays with her life for her romantic yearnings. She sang the role superbly, with a rich, powerful voice that soared and made the climactic moments thrilling.

Equally arresting was baritone Michael Chioldi as Tonio, who precipitates the tragedy with his lust for Nedda. He set a high bar in the opening “Prologue” with his theatricality and ringing voice.

Paul Sayegh, The Virginia Pilot - Pilot Online
Il Trovatore - Hawaii Opera Theatre

Both male leads were impressive, : Count di Luna (the younger Count) may not be very nice character, but baritone Michael Chioldi made him the most powerful – he has a beautiful voice!  (Chioldi) displayed impeccable vocal technique well worth making an effort to hear.

Ruth Bingham, Honolulu Star Advertiser
Gianni Schicchi - Chicago Opera Theater

Baritone Michael Chioldi, all done up in oversized glasses and a loud sport jacket that looked like something you have to plug into the wall at night, had an estimable success as Schicchi. He moved his ample, finely burnished voice with fluidity and employed some comical falsetto effects in his ruse as the dying Buoso.

Mark Thomas Ketterson, Opera News
Gianni Schicchi - Chicago Opera Theatre

Schicchi, the clever rogue who outwits the relatives and grabs most of the inheritance for himself and his daughter Lauretta, was dressed like Austin Powers, complete with shades and smoking jacket. The character was strongly sung and winningly played by baritone Michael Chioldi.


John von Rhein, Chicago Tribune
Gianni Schicchi - Chicago Opera Theater

COT has assembled an engaging cast for this rousing ensemble piece. Leading the way in the title role is baritone Michael Chioldi, who has singing strength and comic wit. His bluster is engaging as he happily embodies the idea of cunning chicanery.

M. L. Rantala, Hyde Park Herald
Gianni Schicchi - Chicago Opera Theater

Michael Chioldi plays the slippery titular character with flamboyant joie de vivre. 

Barnaby Hughes, Chicago Opera Review
Chicago Opera Theater - Gianni Schicchi

... it is Chioldi as Schicchi who offered my favorite performance. Bursting onto the stage like some bizarre love-child of Andy Warhol and Liberace, this version of Gianni Schicchi is nothing like anything Puccini dreamed up, and is all the more delightful because of that.


Colleen Cottet, Edge Media Network
COT's Gianni Schicchi

Michael Chioldi played the titular Florentine trickster with robustness and magnetism. His ample baritone added bite to Schicchi’s wry sarcasm, easily projecting over a sometimes unruly orchestra. I found his slapstick delivery at times exaggerated but generally entertaining throughout the performance.

M. J. Chen, The Chicago Maroon
Tosca - NYCO Renaissance

The company’s other standout, baritone Michael Chioldi, unfortunately had no contact with Ms. Moore since he performed in an alternate cast. This ferocious artist, a standby of America’s regional opera companies, is quite simply a terrific Scarpia, conveying the character’s venomous evil while pouring out warm, virile baritone sound. His was by far the fullest and most detailed characterization of any performer in either cast.


James Jorden, Observer.com
Tosca - New York City Opera

As Scarpia, the baritone Michael Chioldi brought a powerful, gravelly voice to the role and seemed the most grounded of the leads, though his acting tended toward the melodramatic. There were moments when this production took off, like the surefire scene in which Cavaradossi is being tortured offstage while Scarpia tries to get Tosca to reveal where her lover has hidden Angelotti. Here, Ms. Sampson and Mr. Chioldi kicked this production into gear.

Anthony Tommasini, New York Times
Tosca - New York City Opera Renaissance

As the lecherous Scarpia, baritone Michael Chioldi fared noticeably as the best of the three leads, with a strong stentorian voice that captured the part’s vigorous evil.

Paul du Quenoy, ConcertoNet.com
Tosca - New York City Opera Renaissance

Baritone Michael Chioldi absolutely stole the show as a juicy-toned, lubricious Scarpia who relished his villainy while wallowing in the masochistic guilt of false piety.

Eli Jacobson, Manhattan Express
“tosca” at the séance

Yet the real star of the evening was Michael Chioldi as Scarpia. Vocally commanding, he was able to expand the role beyond the one-dimensional villain archetype, avoiding cliché and overacting. His Scarpia was both frightening and pathetic, and I’m pleased to report th at he successfully melded religious apostasy with sexual surrender.

Patrick Clement James, Parterre Box
Tosca - New York City Opera

The baritone Michael Chioldi held the three acts together from the middle, singing Scarpia’s Act II efflorescence of evil with a gusto that left his fellow cast members sounding pale.

Justin Davidson, Vulture
Tosca - New York City Opera Renaissance

The real story of this production, though, is Michael Chioldi as the ultimate opera villian Scarpia. He’s easily the best actor in the cast, projecting a truly elegant surface under which murky waters roil. This was definitely a “love to hate you” kind of Scarpia, with vocal power, confidence and technique to back it up. Overall, a rock-solid Tosca, not at all a bad way to get NYCO back on its feet.


Jonathan Warman, www.gaysocialites.com
Tosca - New York City Opera Renaissance

NYCO fielded two casts for the production; among the opening-night principals, only Michael Chioldi, the Scarpia, delivered a convincing portrayal. His police chief was very much in the Tito Gobbi mold—sardonic, self-satisfied, amoral. An appropriate hint of a snarl colored his vocal tone. With Scarpia dominating, Act II was easily the most effective portion of the evening. At times, Chioldi may have scored his points too emphatically, but you had to admire his attempt to add some oomph to the lackluster proceedings.

Fred Cohn, Opera News
Salt Lake City Opera's Tosca

IN GIACOMO PUCCINI'S TOSCA (seen Oct. 12), the iconic arias go to the soprano and tenor but in many ways the juiciest role belongs to the baritone. Michael Chioldi, as Baron Scarpia in Utah Opera’s season-opening production, had plenty of meat to sink his teeth into, and he did so voraciously.
During the first act, Chioldi’s oaken-toned voice thundered menacingly as he bullied his way into the church and dripped with cunning deception, during the Te Deum. His characterization, aided by director Kathleen Clawson’s dramatic vision, was chilling, especially during the violent Act II victimization of Tosca. But what made Scarpia’s attempt to extort sexual favors interesting was Tosca’s singular defiance to the man before whom all others cowered.

Robert Coleman, Opera News
A passionate, enthralling Rigoletto - Filarmonica de Jalisco

...A great singing actor is needed to make the story (Rigoletto) believable, plausible. Great celebrities have given life to this personage, 'all too human' as Nietzsche would say, celebrated singers that we all remember and venerate. But in this performance a new and different character emerged. One who moved and captivated all who were present in the audience:

The Italian-American, Michael Chioldi, in his tenth Verdi role and at the age of 45, gave life to a passionate, enthralling Rigoletto. Michael in his Rigoletto debut at the Teatro Degollado, brought the audience to our feet. We were presented with a unique, emotive, and passionate artist who moved us all.

Manuel Yzizar Rojas
The Star of the Night - Rigoletto - Filarmonica de Jalisco

The star of the night was without a doubt the baritone Michael Chioldi, who redeemed the missteps of the others and made of the production something absolutely essential to hear.

Chioldi offered a powerful, virile and dramatic voice, to the Guadalajaran public. His Rigoletto gave me goosebumps. He fulfilled and went beyond expectations, even more when considering this was his debut in the role. The rendition of his aria 'Cortiggiani vil razza dannata' was a heartrending interpretation of the desperation of a father who has had his daughter snatched away from him. Without a doubt this singer was the icing on the cake in this evenings performance

Alfredo Rossetti, Le Nous Cultura

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, HamptonRoads.com
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

But the star of the show was baritone Michael Chioldi as Joan's father. Chioldi, doubling as a sort of onstage manager, sang with unfailingly glorious sound.

Richard Covello, Opera Canada
Stonikas was brilliant in her role debut as the eponymous princess with a taste for perversion. Chioldi was equally impressive as Jochanaan. Charismatic and magisterial, with capacious vocal heft, he provided a strong counterpoint to the court's depravity.
Robert Coleman, Opera News
Giovanna D'Arco
Michael Chioldi emerged the strongest of the principals with his stylishly vocalized, intelligently nuanced Giacomo. He was excellent in this earlier idiom; I would love to hear him do an Ernani Carlo.
Mark Ketterson, Opera News
Don Carlo Verdi wrote an opera lover's dream, and Austin Lyric Opera realized it

Some of the strongest energy came from Michael Chioldi's Rodrigo and James Valenti's Don Carlo, a beautiful bromance cemented at the end of the first act with their impassioned duet "Dio, Che Nell'alma Infondere Amor." The strength of this relationship was consistently vital, serving as an important thread throughout the opera. Chioldi's voice was especially expansive, projecting the spirit of the character.
Natalie Zeldin, The Austin Chronicle
Michael Chioldi is fantastic and thrilling to hear as Rodrigo, Carlo's friend and a fierce protector of the Flemish who are at war with Spain.

Jeff Davis, Broadway World
"Don Carlo" Kills at Lyric Opera
Michael Chioldi as Rodrigo was excellent.
Pat J Dixon, The Austin Post
Review: Austin Lyric Opera's "Don Carlo"
...one of the production’s outstanding vocal talents.....Rodrigo (baritone Michael Chioldi) tries to remain steadfast and upbeat while his friend plays with decisions that could bring certain death......But the voices come first in this production, and luckily for us, the skilled singers and the musicians who accompany them transport us very nicely indeed.

Luke Quinton, Austin 360
Utah Opera's 'Salome' offers chills and thrills
Baritone Michael Chioldi brought palpable charisma to the role of the unfortunate object of her affections, John the Baptist (called Jochanaan in the Oscar Wilde play on which Strauss based his opera).
Catherine Reese Newton, Salt Lake Tribune
"By far the best of the three principal artists was Michael Chioldi as the relentlessly obsessed Giacomo, whose big, open baritone had the power, lyricism and, above all, the style needed to do justice to early Verdi. The father's forgiveness and benediction were among the vocal highlights of Saturday's performance." Read More...
John von Rhein, Chicago Tribune
"Place of honor, however, must go to baritone Michael Chioldi as Giacomo, Joan's father. Baritones have never been in short supply in opera; however, Chioldi's voice and his performance indicate that he would stand out, even in a distinguished group, which is not necessarily a description I would apply to any voice range in opera today. Mr. Chioldi possesses a voice of exceptional power and stamina; his performance was not merely special, it is one that I will not forget as long as I attend opera. I feel confident Chioldi could step into any baritone role with any opera company in the world and stand up not only any of his contemporaries, but also invite comparisons with great baritones of the past." Read More...
Adam Dahlgren, Los Angeles Splash Magazines
"Moreover, Michael Chioldi—an Emmy award-winning baritone/sect leader who plays Joan’s father—was my favorite of the night; I very much enjoyed Chioldi’s performance that is at the same time convincing, infuriating, and heart-wrenchingly beautiful. The final act gave me chills (it was so stellar I would love to experience it again)." Read More...
Anna Dron, Chicago Now
"The soloist that “literally” turned on the lights for the audience was Michael Chioldi in his outstanding performance of Joan of Arc’s father, Giacomo. During the few moments in the opera without some sort of distraction, one of his arias would arrive and quell the storm of Verdi choruses that proceeded. He acted not only as father to Joan, but also to the company of singers as they continued their religious activities."
Daniel Grambow, Chicago Opera Examiner
"...Michael Chioldi’s magnificent Giacomo is a force of nature, intoning Verdi’s soaringly aggressive arias as if they were written for him on the spot."
Lawrence Bommer, Stage and Cinema
"Chioldi possessed the strongest voice, a powerful baritone that filled the hall."
Elliot Mandel, chicagomusic.org
"The veteran baritone [Michael Chioldi] sang with an ample, rounded baritone and a nice sense of Verdi style, bringing a humanity to Giacomo ..."
Lawrence A. Johnson, Chicago Classical Review
"But the real treat was baritone Michael Chioldi, who sang gorgeously as Joan's father, Giacomo, and was perfect as the sly, charismatic cult leader, pulling the strings for the whole shebang."
Deanna Isaacs, Chicago Reader
"Baritone Michael Chioldi was a standout as Giacomo, Joan’s reproving father, quick to judge and soaring in remorse, and he sang it as one who has inhabited Verdi’s other great paternal roles. One could have closed one’s eyes and come away with a legitimate Verdi experience."
Nancy Malitz, Chicago on the Aisle
"Baritone Michael Chioldi offers a winning vocal performance as Giacomo, Joan’s father."
M.L. Rantala, Hyde Park Herald
Ford (Michael Chioldi), and the men of Windsor search for Falstaff.
"The excellent, resonant baritone Michael Chioldi, was particularly impressive in making his words clear and telling. His key scene with Falstaff, very well vocalized with considerable nuance and shading, proved a highlight."
David Shengold, Opera News
Michael Chioldi (Scarpia) and Tracy Wise (Spoletta)
Baritone Michael Chioldi (Scarpia) was brilliantly cast. His voice is rich, clear and equally powerful, with a dark edge that made his threats real. Chioldi and Gardner (Tosca) fashioned the second act into the highlight of the evening: two perfectly matched adversaries, dueling for their lives.
Ruth Bingham, Honolulu Advertiser
Lending heft to this fine production was baritone Michael Chioldi, as Giorgio Germont, Alfredo’s father, who gave a sensitive performance. His flexible and lyrical baritone has creamy rich overtones even in delivery from top to bottom of the range. He won rapturous applause for his Act II arias, and his curtain call at the end.
Rex Hearn, Palm Beach Arts Paper
Baritone Michael Chioldi was a solid Giorgio Germont from his first notes. His voice was as powerful as it was expressive, and his charisma dominated whenever he was on the stage.
Marcio Bezerra, Palm Beach Daily News
The American baritone Michael Chioldi ... was an excellent Germont, and won the first warm applause of the evening with his lovely reading of Di Provenza il mar in Act II. His sturdy, big voice has a softness and flexibility to it that made his interpretation of Alfredo’s father less imperious than others, and it was in his duet with El-Khoury, Pura siccome un angelo, that this production of Traviata found its sea legs.

The two singers [Joyce El-Khoury and Michael Chioldi] melded expertly, and in their give-and-take one could hear how Verdi had moved away from the conventions of his time toward an expressive naturalism. Gone are the arias for each emotional arrival; in its place are urgent phrases that move the action along and build the tension gradually.

Greg Stepanich, Palm Beach Arts Paper
As Alfredo’s father, Giorgio Germont, whose antique ideas of family honor spoil everything for the young lovers, the American baritone Michael Chioldi was an imposing, patriarchal presence, with a voice to match. His long dialogue with Violetta, as he tries to convince her to leave Alfredo, was one of the emotional high points of the opera, with his resonant cries of Piangi, piangi (Weep, weep). His Di Provenza, in which he reminds Alfredo of their family home, was performed with paternal ardor, with a natural feel for the aria’s long lines of melody.
David Fleshler, South Florida Classical Review
... baritone Michael Chioldi portrayed Count di Luna with sonic virility. His larger-than-life persona dominated most scenes, but his shrewd restraint in Act IV avoided quashing the tender moment when Manrico learns what Lenora has sacrificed for him.
Robert Coleman, Opera News
Guest conductor Larry Rachleff’s lovingly detailed concert with the FWSO was a dramatic demonstration of what’s too often lacking from that very able orchestra. The Fort Worth Opera Festival mounted a gripping Tosca, with a powerful trio of Carter Scott (Tosca), Roger Honeywell (Cavaradossi) and Michael Chioldi (Scarpia). Read More...
Scott Cantrell, Dallas News
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, Louisville.com
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, everydayopera.com
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
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

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