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On opening night, baritone Michael Chioldi gave an appropriately pensive reading of the always-conflicted Hamlet. The title character is on stage and singing nearly all of the time in this taxing role, but Mr. Chioldi handled his part well, singing and acting with dignity, grace, and power.
The evening belonged to Michael Chioldi in the title role of Washington National Opera's Hamlet.
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.
Michael Chioldi's Richard Nixon is a perfect fit. Having sung in many established opera houses around the world, his vocal talents as a baritone are strong and presidentially confident.
Michael Chioldi was equally distinguished as Nixon, singing beautifully and creating a complete picture of the forceful, politically adept yet just a tad paranoid, President.
Michael Chioldi is a stong-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.
...as Richard M. Nixon is Michael Chioldi who debuted at the Met with the late, great Luciano Pavarotti, having appeared also in San Francisco Opera, Houston, Chicago, Santa Fe, Los Angeles, and the Washington National Opera. His presentation in Long Beach of Nixon was riveting, with multiple showings of Nixon's famed "V for Victory" gestures with arms aloft.
Michael Chioldi (Count Almaviva) wooed, blustered and raged, as strong vocally as physically, using his dark baritone to great effect.
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.
Michael Chioldi captured the persona of Richard Nixon, portraying the multi-faceted, complex man with vocal and acting facility.
Baritone Michael Chioldi, who was brilliant as Nixon all evening - from his thrilling "News, news, news" aria in Act One - continues to give us a sympathetic portrayal of a human being.
Michael Chioldi’s strong voice and model enunciation makes one wish the role of John Sorel were longer.
Hearing Menotti's The Consul live with a big orchestra was a revelation...Menotti still clings to melody, which makes for moving arias and ensembles. The strong cast is led by soprano Melissa Citro (Magda Sorel) and baritone Michael Chioldi (John Sorel).
Among the humans, the only vividly realized character was the Forester, sung by Michael Chioldi [in Long Beach Opera's The Cunning Little Vixen]. His taut baritone strongly conveyed masculinity, which his performance echoed without the use of stock gestures or puffed-up posturing.
Michael Chioldi as the Forester commanded the stage, singing and acting with power and aplomb.
With a burnished sound at the top and clearly-shaped middle register, Chioldi sang the title role in Der Fliegende Holländer with dramatic vigor. In this, his debut in the role, he offered a superb portrait of one who set himself against his fate, one who in spite of all disillusionments still believes in his redemption through the unconditional love of a woman.
Michael Chioldi gave a Bayreuth-worthy performance in the title role of Der Fliegende Holländer. With his magnificent, well-focused and powerful Heldenbaritone of the Italian school, he drew a very impressive portrait of the role. The enormous intensity and brilliance of his entrance monologue produced tremendous applause. This awesome singer is in the early stages of a huge Wagnerian career.
...Michael Chioldi culminated the first part [of the Puccini Gala] with a powerful "Te Deum" from Tosca.
Michael Chioldi's Forester unveils a surprisingly self-reflective portrayal which allows him to explore the lyricism of Janacek's music.
With beautiful and expressive singing, Michael Chioldi was the high point as the Holländer, with a meaningful, clearly articulated and accented interpretation of the character. He convincingly presents the suffering of the persecuted and condemned protagonist. With great use of his vocal range, particularly well executed in the lower range, he gets to the essence of the character. It is wonderfully achieved.
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.
Michael Chioldi, who will make his debut in Pforzheim in the title role of Wagner's Flying Dutchman, sings [the Brahms Requiem's baritone role] with colored highs and noteworthy dramatic strength. His approach is altogether convincing. Emotionally gripping, declamatorically sure, intense and with vocal sovereignty, he contributed much to the success of this "German Requiem," as evidenced by the unreserved applause by the audience.
Michael Chioldi's Sharpless revealed a mature, sonorous baritone that gave him a natural authority in his Act III reproach of Pinkerton...
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