Rossini: Tancredi

Countertenor Carlo Vistoli as Tancredi tirelessly rattled off coloratura runs and gave a moving account of the final death scene.

James Imam — Financial Times

For the first time in Italy, the title role has been entrusted to a countertenor, Carlo Vistoli: an incredible voice, and an even more extraordinary emotional range. He is the star of the evening, a most natural countertenor, endowed with superlative breath control, technique, diction, and expressive depth. Entrusting him with a part written for Adelaide Malanotte and her successors proved a winning gamble. “Di tanti palpiti” was a delightful morsel, an elegant aperitif with which to begin. But the true greatness of Tancredi—with that voice—lies elsewhere.

Carla Moreni — Il Sole 24 Ore

Mariotti made the unique choice of casting a countertenor instead of the usual contralto or mezzo in the title role. Carlo Vistoli’s performance was an absolute triumph, for both the beauty of his voice, rich and natural in tone, and for his perfect singing in every register.

Pia Maltri — Bachtrack

Vistoli does not disappoint expectations. Endowed with an unusually generous, ample, and idiomatic vocal instrument within the countertenor landscape, the singer possesses a clear, limpid timbre, never disembodied, gently vibrated, and highly expressive. The audience realizes from the very first G natural with which his cavatina begins that this performance will be memorable: Vistoli displays extraordinary gifts, sustaining that note seemingly beyond the limits of breath, complete with subtle dynamic variations. The recitative then reveals his remarkable gifts as a phraser, leading into the aria and, above all, the celebrated “Di tanti palpiti”, in which one admired the legato, the purity of the vocal line, and the absolute naturalness with which he sustains it. The rest of his part is performed with equal mastery, including the heart-rending finale, sung in half-voice, all colour and phrasing, expertly supported by Mariotti. In conclusion, this revival of Rossini’s Tancredi offers many reasons for admiration, but none surpass Mariotti’s Rossinian mastery and, above all, Vistoli’s artistry, which shapes a sublime interpretation of the title role, leaving future generations a benchmark against which every countertenor attempting the same challenge will inevitably be measured.

Stefano Ceccarelli — L’Ape Musicale

It was an opportunity not to be missed, especially since, after Marilyn Horne and Daniela Barcellona, the title role was entrusted for the first time to a countertenor. Carlo Vistoli proved absolutely extraordinary and deeply moving in what may well be his finest part.

Guy Cherqui — Wanderer

From the very first note of the exclamation “Oh patria!”, at the opening of the cavatina—held far longer than one has ever heard before and truly conveying the homesickness that has gripped the hero throughout his long exile—we understand how much thought and research Vistoli has devoted to the role. The phrasing is deeply considered and personal, the interpretation remarkably measured, the coloratura well executed, and the voice remains sufficiently rich in texture and well projected over the orchestra throughout the performance. The famous cavatina “Di tanti palpiti” immediately wins the audience’s applause, although even more convincing are the duets with the soprano and the tragic finale. In short, this is a Tancredi that can legitimately stand alongside the greatest interpreters of the role as an equal. A brief aside for voice aficionados: thanks also to Mariotti’s excellent work in creating a beautifully blended musical texture, the timbres of the two protagonists seem to merge perfectly. One can only hope to hear these two artists together again in the future, given the musically rewarding outcome of this collaboration.

Michelangelo Pecoraro — Operaclick

Flexible and precise, Carlo Vistoli, with his male-alto voice, is a perfect Tancredi, a part Rossini wrote for a contralto en travesti. At the time, in the absence of castrati, the part was entrusted to a female singer, but can one still maintain that this is necessarily the best solution? The casting of today’s Tancredi is certainly not a whim, but rather an experiment—and a successful one.

Dino Villatico — Il Manifesto

Carlo Vistoli possesses a technique equal to any challenge and musicality of the highest calibre. The exceptional beauty of his timbre lends an ethereal quality to the character of the ideal hero. His voice blossoms as the evening unfolds, and the singer grows ever more convincing, culminating in a highly successful tragic finale.

Alfred Caron — Opéra Magazine

The voice is richly coloured and resonant, even throughout its registers, and endowed with a fine range. Vistoli phrases with taste and consistently finds exactly the right accents for the character, delivering a truly impressive performance both vocally and dramatically. The large and enthusiastic audience, undeterred by the heat, responded with frequent applause during the performance, confirming a notable success for all involved, with particular enthusiasm for the two protagonists—especially Vistoli, who was greeted with a genuine triumph—and for Mariotti.

Filippo Antichi — Connessi all’Opera

This choice was justified by the availability of an exceptional singer such as Carlo Vistoli, capable of performing with a natural voice (even if that naturalness has undoubtedly been achieved through immense study and refinement) a part written for a contralto. His Tancredi proved perfect in the moments of amorous ardour and lyrical expression.

Mauro Mariani — Ópera Actual

From his very first entrance, the voice is clear and voluminous, with a powerful “O patria” delivered while lying supine, and an entire cavatina marked by soaring high notes and reinforced lower tones. The phrasing is exquisitely nuanced in both dynamics and accentuation, with a vocal line that shapes every melody with breadth and precision. His breath control is extraordinary, the diction sharply articulated, and the coloratura executed with rigorous clarity, all within a natural balance of strength and elegance. The final aria is finely crafted, poised between tenderness and despair, leading to an exquisitely delicate and heart-rending final scene.

Andrea Poli — Opera Libera

The cast was exceptionally well matched, beginning with Carlo Vistoli, the triumpher of the evening, displaying textbook technique, complete command of the stage, and immediately earning admiration for his mastery of Rossini’s musical language. In the most famous piece, “Tu che accendi questo core”, followed by the Act I cavatina “Di tanti palpiti,” he prompted a standing ovation from the audience thanks to his captivating voice. Undoubtedly, the decision to cast a countertenor rather than a contralto as Tancredi proved a winning one. At the end, there were tremendous ovations for everyone, especially for conductor Michele Mariotti—who gave us a performance to remember—and for Carlo Vistoli, the triumphant star of this “special” Tancredi.

Stefano Sartini — Arte e Arti

The decision to cast Carlo Vistoli as Tancredi (warmly applauded during the performance as well as at the final curtain for the remarkable richness of his sound, which captivated everyone), rather than a female contralto as has so often been the case in the past, should not be seen as a dismissal of the great singers who have previously performed the part. It simply reflects a desire to offer something new, rather than relying on well-established traditions.

Sergio Buttiglieri — Il Giornale dell’Arte

Carlo Vistoli approaches the part with remarkable musical intelligence. The singing is refined, the ornamentation consistently controlled, and the style beyond reproach. Far from appearing as a mere curiosity, this casting offers an alternative reading of the character, lighter and more ethereal than that traditionally provided by the great contralto voices. Vistoli’s performance possesses sufficient coherence and authority to move beyond the realm of experiment and to spark a genuine debate about interpretation.

Stefano Nardelli ― classica.fr

In the title role, Carlo Vistoli is wholly convincing, portraying an elegant yet tormented Tancredi shaped with great musical sensitivity. His warm timbre and superb vocal control convey all the character’s heroic vulnerability.

Gabriele Isetto — In volo sul teatro

Carlo Vistoli’s vocal instrument naturally embraces the ambiguity of the puppet-like figure, the suspended hero, the character who is not entirely of this world. His voice is clear, well focused, perfectly even throughout its range, rich in invention in the agile passages and precise in its coloratura. The gamble has paid off: courage has rewarded the singer-actor with an enthusiastic reception that was anything but merely formal.

Carlo Di Bella — I Teatri dell’Est

His Tancredi is not a monumental hero, but a wounded man, constantly consumed by doubt. Vocally, the performance stands out for its stylistic control, elegance of legato, and great refinement of phrasing. The coloratura remains consistently clear, yet never flaunted as mere virtuosity. Vistoli prefers to work through dynamic nuance, half-voices, and a constant search for emotional vulnerability.

Davide Oliviero — La Voce

Here in Rome, the superstar is the contralto countertenor Carlo Vistoli, and he deserves no less praise than the great singers who preceded him in the role, from the trailblazer of our time, Marilyn Horne, and the incomparable Lucia Valentini Terrani, to Daniela Barcellona. His timbre is supple yet vibrant in temperament; his voice carries effortlessly over the orchestra pit to the very back of the Costanzi theatre, even when descending into the lower register. Add to this his limpid musicality, impeccable agility, and perceptive acting. A voice that announces itself immediately on stage with a textbook messa di voce.

Carlo Lei — Limina Teatri

The title role was entrusted to Carlo Vistoli, who rose to the challenge and emerged victorious. The countertenor from Lugo displayed a beautifully even voice, attractive in colour and supported by precise agility. His performance was entirely at the service of interpretation: every note and every word was used to convey emotion, building in intensity until its culmination in the tragic finale.

The.blogartpost

Carlo Vistoli’s portrayal of Tancredi was consistently accomplished and remarkably even in quality across every aspect. The countertenor from Lugo endowed the character with both noble solemnity and the necessary human sensitivity. Thanks to a carefully controlled and supple vocal emission, he was able to display ample tone and richness of timbre both in the upper register, which he commanded with ease, and in the velvety colours and subtle nuances of the middle register. All of this rested upon a natural and flexible expressive palette, allowing the artist to achieve a fully realised balance between the various facets of the character.

Francesco Arturo Saponaro — Music Paper

What was most precious in his Tancredi was the untouched purity of the knight and the elegance of his delivery. The part’s principal moments—from the entrance aria “Tu che accendi” and the cabaletta “Di tanti palpiti” to the Monteverdian tragic finale—were realised with great nobility of accent and nuance, and with exemplary taste in the many embellishments. Hats off, moreover, to his stage presence (finally entirely believable) and to an acting performance carefully detailed in every respect.

Maurizio Modugno — Rivista Musica

There can be no denying that the countertenor’s debut in the part was a success. Vistoli possesses an appealing timbre, a voice of real substance, with a particularly distinctive resonance in the upper middle register, while intelligently shading the lower middle range. He handles both sustained lyrical singing and coloratura with assurance, although in the faster passages of agility one occasionally hears traces of the Baroque repertoire that is his natural domain, including a generous use of martellato articulation. He never sounds generic, portraying a Tancredi yearning for his return home and deeply afflicted throughout the final scene. Vistoli also allowed himself some impressive technical flourishes, notably a beautifully executed messa di voce on the first note of his entrance recitative and a finely calibrated play of dynamics. If he excelled in his solo moments, it should also be noted that some of his finest singing came in the two duets with Russomano—one in each act—creating moments of remarkable beauty.

Jon González Villanueva — Codalario

A fearsome part, not only because of its vocal writing, but also because “Di tanti palpiti” is a Rossinian hit that has entered Italian popular culture, as Stendhal already observed. Yet Carlo Vistoli easily overpowers the part, demonstrating the extent to which he possesses the requisite purity of timbre, homogeneity of registers, and agility, as well as the remarkable level of his vocal and dramatic interpretation of the character.

Dazzling in a perfectly shaped “Di tanti palpiti”, ornamented with the taste for which he is renowned and rewarded with a lengthy ovation, he was equally moving in Tancredi’s death scene, sung on the breath with exceptional legato. He wins, by a wide margin, the gamble of entrusting this part to a countertenor and is undoubtedly today one of the finest interpreters of the part.

Jean Luc Izard — Baroquiades

Carlo Vistoli dominates the stage with expressive and vocal naturalness, the outward signs of an intelligence, musicality, and artistic command that make him a truly great interpreter.

Giuseppina Giacomazzi — Belcanto e Dintorni

Tancredi is sung by Carlo Vistoli, one of the most distinguished Italian countertenors on the international stage, currently at the peak of his powers both vocally and dramatically.

Livia Bidoli — gothicnetwork

At last, an Italian singer gives us a Tancredi of profound feeling and sublime artistry. The messe di voce, the legato, the pianissimi: all are the hallmarks of a mature Vistoli, attentive to every word. His entrance is imbued with an Apollonian purity of singing, followed by a “Di tanti palpiti” free of unnecessary embellishment and delivered with striking clarity and intelligence. The death scene stands as a pinnacle of musical theatre, distinguished by a naturalism that was extraordinarily modern for 1813. Vistoli was acclaimed at the end of the performance, and the theatre was sold out for every performance of the run.

Fabio Tranchida — Il Trillo Parlante

Vistoli delivered a performance of the highest calibre, demonstrating pinpoint precision in the coloratura passages and remarkable technical stamina throughout.

Loredana Margheriti — Progetto Italia News

In the title role, the alto countertenor Carlo Vistoli delivers a performance of great stylistic rigour and powerful expressive intensity. His voice, homogeneous in timbre and supported by impressive technical control, negotiates the long coloratura scales and wide leaps in range with apparent ease. Yet what impresses most is the quality of his phrasing: Vistoli avoids any purely virtuosic display and creates a Tancredi who is introspective, melancholic, and deeply human. In the great final scene, the singing becomes increasingly rarefied, almost consumed by grief, reaching moments of genuine emotional poignancy. Measuring oneself against legendary interpreters such as Marilyn Horne, and more recently Daniela Barcellona, is no easy task. Vistoli succeeds—and emerges triumphant.

Renato Verga — L’Opera in Casa

His Tancredi is sung with a consistently supple voice, homogeneous in timbre across all registers and employed with intelligence to express, with neoclassical poise, the inner turmoil of a hero standing on the threshold of a Romanticism only just emerging—or about to emerge. The poetry of his phrasing and his articulation of the text blend seamlessly with the interpretative choices of both conductor and stage director, resulting in a reading of the character that is both original and more than convincing.

Francesco Giudiceandrea — GBOPERA

Carlo Vistoli is a Tancredi distinguished by a velvety timbre, unfailingly elegant phrasing, and prodigious breath control.

Riccardo Cenci — Bellini News

Once again, Carlo Vistoli has surprised us with the versatility of a talent so often admired on the world’s leading stages, and with his extraordinary ability to adapt both to Rossini’s writing and to the complex demands of a major stage director in the service of this masterpiece of Opera Seria—a work that Tancredi elevates as a stylistic bridge between the Baroque and Neoclassicism. Naturally, the celebrated aria “Di tanti palpiti” was eagerly awaited and, as expected, Vistoli, with the elegance and incomparable virtuoso accents of his unique voice, unleashed the enthusiasm of the entire audience, earning a long and intense ovation, renewed in the second act during the equally famous “Ah, che scordar non so”.

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