A highlight of theconcert was the older-style solo cantata by Niccolo Porpora, one of Haydn’steachers, "Oh, se fosse il mio core", brilliantly sung by countertenor CarloVistoli. The intricate lines and elaborate ornaments did not obscure thepoignant expression of "Ah, if only my heart were free to give away". Thecountertenor voice is in the alto register and Vistoli’s high notes shone outwith mesmerising power.
Alexis Alrich - SouthChina Morning Post
The standouts for mewere mezzo-soprano Lea Desandre and countertenor Carlo Vistoli, who bothdemonstrated a uniqueness in vocal tone and great acting capacity in theirperformances. It was such a joy each time they sang.
Mariyon Slany - artshub.com
Countertenor CarloVistoli gave an emotionally powerful performance of an excerpt from Handel’s Orlandoand showed a lovely lyrical quality in a cantata by Porpora.
Mark Coughlan - TheAustralian
But the night’shighlight came in countertenor Carlo Vistoli’s account of Porpora’s "Oh, sefosse il mio core" cantata: a moving interpretation of high calibre.
Clive O’Connell - TheAge
Counter tenor CarloVistoli navigated a stormy Handel number from Orlando and moved withfluid ease between falsetto and natural baritone.
Peter McCallum - TheSydney Morning Herlad
Alongside theinstrumentalists, Christie introduced members of the organisation’s vocalacademy, Le Jardin des Voix, who brought technical control and buoyantenthusiasm to obscure arias and ensembles rescued, reaching a peak withcountertenor Carlo Vistoli’s crisp reading of a Porpora cantata.
Clive O’Connell -The Sydney Morning Herald
The trials of Handel’s Orlandoare portrayed with brilliant vocal effect and physical movement bycounter-tenor Carlo Vistoli. [...] The rehearsal conflict is soothed by a solocantata excerpt by Nicola Porpora. Carlo Vistoli once more displays his widecounter-tenor range. He performs seemingly effortless elaborations whilstseated consoling his fellow performers.
Paul Nolan - sydneyartsguide.com.au
Carlo Vistoli, anItalian countertenor, sang with lovely tone, tinged at the bottom by his lownatural voice, and remarkable breath control.
James R. Oestreich - TheNew York Times
La perle de cettepremière partie vécue avec ferveur est le contre-ténor Carlo Vistoli, qui, en Orlandode Haendel, couronne son ultime «furor» d’un grave qui génère des frissons dansle public.
Jean-Luc Clairet - resmusica.com