Händel: Agrippina

Rivalling Nerone to succeed Claudio is Carlo Vistoli’s Ottone. Again, he’s far too impolitically real to achieve the office, though naturally wins the audience’s support - and admiration for his manly alto singing - every time he’s done down by Agrippina, Nerone, Claudio and even Poppea, whom he adores.

 Jeremy Eccles -- bachtrack.com  

World favourite Italian Carlo Vistoli, with a middle range that could shoot both up and down in a way that was super-dramatic and quite astonishing. 

Alison Cotes -- Daily Review  
 

As her lover, Ottone (the only morally decent character in the piece), Italian countertenor Carlo Vistoli impresses here as much as he did when visiting Sydney last year with Les Arts Florissants. He’s a fine actor and a thrilling vocalist, his ample voice riding the orchestra, yet clear and detailed in his decorations and subtle in recitative. Whether upbeat in his optimistic Coronato il crin d’alloro, lyrical in the pastoral Vaghe fonti, or plangent in the great Act II lament Voi ch’udite il mio lamento, he demonstrates a striking emotional range. 

Clive Paget -- Limelight Magazine  
 

Rewarded with the power to rule but single-minded in his love for Poppea, the opera’s only shining light of moral strength is Claudio’s saviour from death, Ottone, to whom Carlo Vistoli imbues with fortified simple-heartedness and a vocally charismatic and wholesome countertenor. Vistoli’s Ottone shares his feelings freely and tenderly with Keri Fuge’s savvy and seductive Poppea, her bright soprano glistening more and more as the plot progressed. Together, Vistoli and Fuge keep love burning in sight of the debauchery. 

Paul Selar -- operachaser.blogspot.co.uk