Rivalling Nerone tosucceed Claudio is Carlo Vistoliâ€™s Ottone. Again, heâ€™s far too impoliticallyreal to achieve the office, though naturally wins the audienceâ€™s support - andadmiration for his manly alto singing - every time heâ€™s done down by Agrippina,Nerone, Claudio and even Poppea, whom he adores.
Jeremy Eccles - bachtrack.com
World favourite ItalianCarlo Vistoli, with a middle range that could shoot both up and down in a waythat was super-dramatic and quite astonishing.
Alison Cotes - DailyReview
As her lover, Ottone(the only morally decent character in the piece), Italian countertenor CarloVistoli impresses here as much as he did when visiting Sydney last year withLes Arts Florissants. Heâ€™s a fine actor and a thrilling vocalist, his amplevoice riding the orchestra, yet clear and detailed in his decorations andsubtle in recitative. Whether upbeat in his optimistic Coronato il crindâ€™alloro, lyrical in the pastoral Vaghe fonti, or plangent in thegreat Act II lament Voi châ€™udite il mio lamento, he demonstrates astriking emotional range.
Clive Paget - LimelightMagazine
Rewarded with the powerto rule but single-minded in his love for Poppea, the operaâ€™s only shininglight of moral strength is Claudioâ€™s saviour from death, Ottone, to whom CarloVistoli imbues with fortified simple-heartedness and a vocally charismatic andwholesome countertenor. Vistoliâ€™s Ottone shares his feelings freely andtenderly with Keri Fugeâ€™s savvy and seductive Poppea, her bright sopranoglistening more and more as the plot progressed. Together, Vistoli and Fugekeep love burning in sight of the debauchery.
Paul Selar -operachaser.blogspot.co.uk