Händel: Partenope

It was a rare joy to hear Vistoli’s deep and lustrous alto voice […]. By the third act our Arsace, Vistoli, tearing at his clothes and falling to his knees, let loose a barrage of anguish and confession so vivid as to be painful. Legato command of his native Italian aided the tragic effect. Dark colors and liquid velvet, his was arguably the most beautiful voice in the entire performance.

Christina Waters – Operawire

The man Partenope favors at the opening, Arsace, was sung by dashing Italian countertenor Carlo Vistoli, a rare singer who commands speed and accuracy, but also expressivity and elegance. His singing and acting make you believe that he can capture any heart. He also attends to the larger arc of his character and the succession of arias, saving his top volume and edge for moments of anger, like the Act II closer “Furibondo spira il vento” (the furious winds blow) in which his unerring, vital passagework swirled through the cavernous War Memorial Opera House. Deploying his fortissimo at strategic points, Vistoli is equally capable of drawing those in the last row of the auditorium into his emotional world with his softest pianissimo, as in his despairing arioso that cannily, poignantly refers to itself— “Ma quai note di mesti lamenti” (But what are these notes of lament). Ghosting the plaintive strings are two flutes, those Handelian signs of the broken heart. Vistoli colored his tone in shifting hues against this mournful sonic backdrop. […] Channeling Handel, Vistoli makes you feel the dilemma of devotion to a rogue.

David Yearsley – CounterPunch

Vistoli has an unusually rich countertenor, with breathtaking dynamic control and, like Fuchs, complete command of florid singing. His Arsace, torn between two women, manages to be both funny and ruefully touching.

Lisa Hirsch – datebook.sfchronicle.com

As Arsace, Vistoli wielded the louder voice, which stood out for both its rock-solid accuracy and its suppleness. With a physical presence to match, these traits lent power to a character who spends most of the opera meshed in a triangle with another woman.

Harvey Steiman — Seen and Heard International

Messieurs Vistoli and Tamagna both possess leading man auras, both exude great charm as well as sing in the alto range with ease and true beauty of voice. Both easily meet the physical theater demands of the Alden production.

Michael Milenski — Opera Today

Countertenors Carlo Vistoli and Nicholas Tamagna as Arsace and Armindo respectively (roles originally written for castrati) match their queen powerfully, with Vistoli's large, brilliant voice and Tamagna's restrained, supple sound the more timorous of the two suitors.

Caroline Crawford — SFGATE

Italian countertenor Carlo Vistoli, in the role of Arsace, offers a performance of remarkable vocal beauty and expressiveness. His voice, an unusually rich countertenor, exhibits breathtaking dynamic control and complete command of florid singing.

Michael M. Landman-Karny — stageandcinema.com

Arsace had a string of feeble, shallow love arias that Vistoli made the best of, singing with a sweet tone and demonstrating brilliance occasionally. It wasn’t until “Furibondo spira il vento” that closed Act II that the audience had their eureka moment, seeing what Vistoli could do! With rapid-fire coloratura, excellent phrasing, a multitude of nuances and colors, great dynamics, and, above all, outstanding breath control, Vistoli unleashed Arsace’s frustration of being torn between his desire for Partenope and his love for Rosmira. His breath control was awe-inspiring, for he maintained all those long, arduous coloratura passages in a single breath effortlessly while still moving all over the stage! After that, the audience erupted in a loud rapture, a perfect way to end an act!

Michael Anthonio — parterre.com

In accepting Armindo, Partenope has to let go of another suitor, the dashing Arsace, who turns out to be a flagrant double-dealer, having abandoned his former lover, Rosmira. He’s a cad, but a cad with conscience and complexity, especially as portrayed brilliantly in a series of arias by the Italian countertenor Carlo Vistoli, making his SF Opera debut.

Nicholas Jones — San Francisco Classical Voice