Händel: Giulio Cesare in Egitto

The laurel crown of the performance belongs to the Giulio Cesare of countertenor Carlo Vistoli: a gifted performer who portrays Caesar — captain and showman, blending almost incognito among the passengers of the boat TOLOMEO — with astonishing vocal virtuosity. Vistoli shines in his arias with exquisitely beautiful tone production, as for instance in his stunning appearance in the enchanted garden staged by Lidia (Cleopatra). Here the show-star Cesare, in his aria Se in fiorito ameno prato, is accompanied on stage by the enchanting violin playing of concertmaster Ada Pesch. What the two of them deliver together, in pure show-business style, would be worthy of Eurovision. Vistoli also captivates through his acting ability and expressive facial work in his interactions with the other protagonists.

Kaspar Sannemann — Der Opernfreund

Carlo Vistoli commands an exceptionally treacherous role — lying unusually low for a countertenor — by virtue of a flawless technique that brings out the dark-hued quality of his timbre, whether in the pyrotechnic coloratura passages, all delivered with phenomenal precision, in the expansive melodic lines infused with sensual yet always virile abandon, or finally (and this is perhaps the most personal and fascinating touch that Livermore brings to this complex character) in masterful flashes of irony, revealing a forceful and distinctive personality: a masterpiece.

Elvio Giudici — Classic Voice

Carlo Vistoli is currently at the peak of his art; he can do anything, and on stage he possesses an incredible authenticity. An excellent actor, and clearly relishing the performance, himself thirsty for the limelight, he portrays a multifaceted Cesare. Nowhere does Vistoli seem out of place or artificial, nowhere is his voice found wanting. It is in no way affected or mannered, displaying a very wide range, astonishing power, and notes held with incredible endurance (“Aure, deh, per pietà”, from the final act, more desperate, like stanzas.) Vistoli is a heroic countertenor, with infinite possibilities and, above all, an incredible grasp of the situations, possessing a vocal range that few countertenors today can rival. I am fully convinced that in this vocal register he has no rival; he is unquestionably the best around, simply because he possesses presence, a grasp of the text, virtuosity, and rock-solid technique. He, too, is a giant.

Guy Cherqui — wanderersite

The radiant focal point of the evening: countertenor Carlo Vistoli, making his house debut as Giulio Cesare. The Italian singer possesses a bright, light voice that flashes in coloratura passages such as Al lampo dell’armi like polished silver. He earns his greatest triumph when he takes over Cleopatra’s microphone and begins his aria with a casual “a one, two, three…” — the audience erupts. Chapeau to this Latin lover in the white dinner jacket.

Peter Wäch — Plattformj.ch

Carlo Vistoli shines as a heroic Cesare. It is incredible how agilely and powerfully he hurls out the many wildly demanding coloratura passages right from the very beginning. That Cleopatra immediately falls in love with him comes as no surprise at all.

Sibylle Ehrismann — SeniorWeb

Without any doubt, in years to come people will still remember two unforgettable laments sung by Cecilia Bartoli and another, no less virtuosic, by Carlo Vistoli — vocal highlights of this Zurich Giulio Cesare and defining moments of a production that was both beautiful and tremendously entertaining. Transparency of tone, agility in the appoggiaturas, virtuosic trills and vocal runs, strings of high notes delivered with ease, and of course a complete triumph measured by the intensity of the applause meter.

Charles Sigel — Forumopera

Carlo Vistoli, as always, fully demonstrated his unparalleled vocal and

theatrical capability.

Mengguang Huang — Bachtrack

Carlo Vistoli, one of the most sought-after countertenors of his generation, offered a flawless interpretation of the title role. His coloratura was sharp and precise, as he proved in a fantastic “Al lampo dell’armi” in Act Three, taken by Capuano at breakneck speed and followed by Vistoli without hesitation. His countertenor is strong, virile, rich in overtones, and capable of luminous high notes. He embraced Livermore’s vision with gusto, portraying a clever, manipulative politician always a step ahead of his foes. He was equally convincing in Cesare’s most emotional aria, “Aure, deh per pietà,” sung during a moment of misfortune in the war against Tolomeo. His messa di voce was exquisite.

Laura Servidei — OperaWire

Carlo Vistoli portrays Giulio Cesare with a perfectly placed countertenor voice, gleaming with brilliant brightness and sparkling like a mountain crystal.

Jan Krobot — Online Merker

In the title role, Carlo Vistoli displays a broad vocal instrument, firmly grounded in the middle register, and tackles both the virtuosic passages and the more lyrical pages with remarkable technical command. From an interpretative standpoint, his Cesare — lucid and disenchanted — appears perfectly integrated into the production’s scenic vision. Among the most successful moments stands out Aure, deh, per pietà, in which Vistoli reveals a rare ability to shape the vocal line through half-voices that never lose substance, combined with eloquent phrasing sustained by an even emission across the entire range.

Paolo di Felice — Rivista Musica

The title role of Giulio Cesare was sung by the Italian countertenor Carlo Vistoli, making his debut at this house. He masters this demanding role with extraordinary commitment and tremendous theatrical vitality. Whether as the ship’s captain, as a showman, or as a ruler in love, he consistently succeeds in winning over the audience with a voice that navigates every coloratura passage with effortless command.

Marco Stücklin — Das Opernmagazin

Vocally, Carlo Vistoli portrays a Julius Caesar who is at once commanding and seductive, demonstrating great theatrical intelligence in service of a character constantly shifting between gravity and lightness. His bright, virtuosic timbre allows him to navigate the vocal runs with striking ease, supported by steady projection, clear articulation, and finely controlled breath management.

Vojin Jaglicic — Olyrix

Countertenor Carlo Vistoli appears almost like a jazz singer, projecting a boyish sense of carefree ease, rising to his coloratura passages with effortless perfection, and at the same time demonstrating in this work the timelessness of Handel’s music, which today feels just as modern, as powerful, and as relevant as it did at the time of its creation.

Charles E. Ritterband — klassik-begeistert.de

Alongside Bartoli, this magnificently cast production brings together everything that represents the very best in early music. In the title role stands countertenor Carlo Vistoli, who delivers vocal coloratura in a pure and sharply defined form.

Patrick Erb — concerti.de

Giulio Cesare is sung by Carlo Vistoli, countertenor, who demonstrates extraordinary talent, with agility in a beautiful voice supported by perfect technique. He is an excellent actor with complete command of the stage, and proves exceptional in the famous aria “Va tacito e nascosto”.

Mirko Bartolucci — Arte e Arti