Händel: Alcina

Carlo Vistoli’s voice naturally breaks hearts: his countertenor timbre is effortlessly natural, radiant, agile in elegant coloratura, and blessed with endless breath control—never for its own sake, but always expressive and theatrical.

Carla Moreni, Il Sole 24 ORE

With an uncommon vocal power that truly evokes the glory of the castrati of the Enlightenment era, Vistoli once again amazes on the stage of Opera di Roma, earning rapturous applause. However, Vistoli is not just a beautiful voice—he knows how to use it. His “Mi lusinga il dolce affetto” is performed with a seamless legato, weaving fragile atmospheres, caressing the melody with pure lyricism and shimmering filati.

Stefano Ceccarelli, L'ape musicale

Soprano Mariangela Sicilia in the title role and countertenor Carlo Vistoli (Ruggiero) were reunited after a memorable Orfeo and Euridice here in 2019. On this occasion the couple again proved a safe casting bet. Vistoli confirmed himself as a great interpreter of Baroque repertoire, with a smooth and natural voice in “Verdi prati, selve amene”.

Pia Maltri — Bachtrack

Carlo Vistoli, in the part of the other protagonist, Ruggiero, is a Baroque specialist without mannerisms, a virtuoso who perfectly calibrates the quantity and quality of ornamentation, a countertenor with a supple and resonant voice, an interpreter who imbues every word with the right meaning and shading.

Mauro Mariani, il giornale della musica

Beside her, countertenor Carlo Vistoli, winner of the 2024 Premio Abbiati for his Giulio Cesare in Rome, takes on Ruggiero, reviving the splendor of the castrati […] Vistoli is currently one of the most sought-after singers: his virile physique, heroic demeanor, and commanding stage presence complement a voice with an amber hue, rich chiaroscuro reminiscent of Caravaggio, spanning the entire range with uniformity—sensual in the low register, brilliant in the high. This allows him to dazzle equally in heroic parts like Ruggiero and villainous ones, as he did with Tolomeo. If “Verdi prati” enthralled the audience with its timbral sweetness, the breathtaking agility of “Sta nell’ircana” sealed his triumph.

Emiliano Metalli, Banquo Magazine

Countertenor Carlo Vistoli, as Ruggiero, displays a remarkable command of style, guiding every phrase with an innate awareness. His timbre is smooth, homogeneous yet full of nuance, and his phrasing is always incisive, alternating between heartfelt longing and sharply executed coloratura. The quintessential demonstration of these qualities is “Verdi prati, selve amene”, in which Vistoli weaves an intricate tapestry of sound, capturing the nostalgia of a farewell to an illusory world that, despite its deception, had showered him with sweetness.

Francesco Arturo Saponaro, MusicPaper Magazine

Carlo Vistoli delivered an excellent Ruggiero, combining an elegant stage presence with astonishing vocal confidence—excelling both in whirlwind agility and in the noble beauty of the lyrical passages.

Francesco Giudiceandrea, GBOPERA

Able to rival the leading lady, countertenor Carlo Vistoli—as Ruggiero—embodies Baroque virtuosity at its finest, using it to express the character’s shifting emotions. With a phenomenal voice, rich in overtones and luminosity, he stands out from his first aria, “Di te mi rido”, dazzling with his variations before reaching the pinnacle in the spectacular “Sta nell’ircana”.

Giulia Vannoni, Il Ponte

Equally remarkable was countertenor Carlo Vistoli in the part of Ruggiero, at ease both in the tender, lyrical pages and in the furious, dramatic ones—such as “Sta nell’ircana”.

Luca della Libera, Il Messaggero

Vistoli executed his nine musical numbers with masterful technique, exquisite variations in the da capo sections, and seemingly endless breath control. However, what truly sets him apart is his ability to delve into the character’s emotions with surprising vocal and expressive control.

Renato Verga, Première loge, l'art lyrique dans un fauteuil