15/07/2019, 13:23



Artabano was sung by Italian countertenor Carlo Vistoli, who provided a textbook display of Baroque singing, with beautifully articulated coloratura, creamy tone, pinpoint accuracy and seamless drops into chest.
Sandra Bowdler - Bachtrack

Similarly engaging was Italian countertenor Carlo Vistoli’s Artabano, his nastiness finely calibrated and his incisive way with recitative very welcome indeed. His soliloquy of remorse, Pallido il sole, was beautifully charted and a highlight of the evening.
Justine Nguyen - Limelight Magazine

Carlo Vistoli as chief plotter and false father Artabano has focused tone and a fluid yet precise sense of line in quick figuration. He sang the instrumentally accompanied recitative in scene 15 where his conscience, such as it is, gets the better of him with coloured vocal drama.
Peter McCallum - Sydney Morning Herald

Carlo Vistoli, as the vile Artabano, who frames his own son to further his political ambitions, had a voice of steel.
Nicholas Routley - Australian Stage

As Artabano, the evil murderer, who murders his king and then allows his son to take the rap, Carlo Vistoli sang with effortless agility. His stylish execution demonstrated a wonderful yet judicious use of ornament and added excellently to his characterisation of the duplicitous general.
Deen Hamaker - Sounds Like Sydney

Carlo Vistoli, as the manipulative Artabano, has power and projection that suits the character, and sufficient beauty of tone to convey poignancy when necessary.
Michael Halliwell - Australian Book Review

Arbace’s power-hungry father, deceitful Artabano, who colludes in framing his own son to further his political ambitions, was excellently sung by Carlo Vistoli in a fine and polished voice. His remorseful aria «Pallido il sole» was finely nuanced and with a fluid, focused tone.
Lynne Lancaster - ArtsHub