February 10, 2022 Theblogartpost.it
“Whereas, Chiara Isotton (called at last in replacement of the unwell Donata D’Annunzio Lombardi) was a sorrowful and engaging Suor Angelica, as well as vocally punctual and capable of lashing increases up to the high note that we already appreciated with Tosca in Piacenza in the summer 2021.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – February 6, 2022
February 9, 2022 Apemusicale.it •(by Roberta Pedrotti) “Dialogic cues, more than an interesting development, within a plain and tidy performance in which the protagonist stands out. After playing the part of Suor Angelica at the opening, Chiara Isotton comes back unexpectedly offering us the most interesting moments of the night. The young soprano has already succeeded in drawing the attention to herself: even as the Lady-in-waiting of Lady Macbeth on the 7th December, she did not go unnoticed, flashing among the concerted pieces. In the insidious role of Puccini’s nun she reasserts her excellent voice management, the copiousness of means and her ability to modulate them in all their texture. The interpretation is very accurate, between strength and tenderness, and for sure it will grow up with experience, especially in the finale, where the context does not press nor help, both for the alternative ambitions not fully settled by the direction, both for a certain uniformity in the orchestral arrangement.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – February 4, 2022
February 2, 2022 GBopera •(by Gianpaolo Dal Dosso)
“Called in extremis to replace the unwell colleague, Chiara Isotton has imposed herself on the leading role with stage and voice confidence: the young soprano’s task was far from being easy with the discreet beginning of a role that discloses increasingly the character, becoming so thick with intimate lyricism. In the famous “Senza mamma”, Isotton was able to express the complex plot that gives life to the piece, from the plain harmonic modality, passing through the central ecstatic vision and the imaginary dialogue with her son, in order to conclude with the most delicate filato; her bursting strength in the dramatic force of that moment was extremely engaging.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
February 1, 2022 Cesaregalla.it •(by Cesare Galla)
“In Puccini, very much engaging was Chiara Isotton in her debut – called at last to replace the unwell Donata D’Annunzio Lombardi – the protagonist of a dramatically silhouetted performance, with a strong expressive tension and an almost always impeccable vocal solidity, except perhaps some moments in the acute zone of the texture.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
February 1, 2022 Ierioggidomaniopera.com •(by Francesco Lodola)
“It is not lacking in strength the interpretation of Chiara Isotton’s Angelica, who was not just stepping in the performance with a last-minute substitution of the expected Donata D’Annunzio Lombardi, but was actually debuting this character. A persuasive debut, which shows traces of an obvious margin for improvement, but that at the same time, has pointed out an energy and an involvement worthy of praise.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
January 31, 2022 L’Arena •(by Elena Biggi Parodi)
“…Chiara Isotton, who at the last moment replaced Donata D’Annunzio Lombardi, made her debut playing the role of Suor Angelica, with full timbre and vocal authority in her intense and deeply true acting.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
January 31, 2022 Lesalonmusical.it •(by Alessandro Cammarano)
“Come to a last-minute replacement of the unwell Donata Suor Rosanna D’Annunzio Lombardi, and in her debut with this character, Chiara Isotton – who should be heard more frequently in major roles– gives voice to a tormented and strong-willed Suor Angelica, generous in colours and meditated in her accents.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
January 31, 2022 MTGLIRICA.COM •(by Maria Teresa Giovagnoli)
“Called at the last to replace the unwell Donata D’Annunzio Lombardi, the performance of Chiara Isotton was praiseworthy; an intense Suor Angelica that has been able to give substance and both scenic and vocal dramatic force to the character, considering the unexpected call on stage.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 30, 2022
January 31, 2022 Operaclick.com •(by Martino Pinali)
“Come to replace the unwell colleague, Chiara Isotton is a strong-willed and authoritarian Suor Angelica, real grey eminence of the convent, far from being submissive and subject both to her sisters and to her insatiable aunt. It is only after the dialogue with this one that the singer reveals herself to be more human and fragile, with a circumspect and cautious “Senza mamma”, to exhibit than again her impressive vocal instrument in “La grazia è discesa dal cielo” and in the long final scene.” “Polite and applauding audience, that rushed in warm greetings towards Isotton at the end of the opera.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 3o, 2022
January 31, 2022 Operateatro.it •(by Davide Cornacchione)
“Come at last in replacement of the unwell donate D’Annunzio Lombardi, Chiara Isotton is a vigorous and highly charismatic Suor Angelica. The soprano born in Belluno has a flourishing, but extremely ductile timbre which permitted her to express the complexity of the character and to craft with high intensity the aria Senza mamma.” SUOR ANGELICA (Suor Angelica), Verona – Teatro Filarmonico – January 3o, 2022
January 3, 2022 Il trillo parlante • (by Fabio Tranchida)
“The Dama of Lady Macbeth is a sumptuous lady, it is Chiara Isotton who sings the high C note all by herself without the complicity of the Lady.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala- December 7, 2021
December 27, 2021 Theblogartpost.it •(by Roberto Cighetti)
“Extremely good Chiara Isotton in the role of the Dama of Lady Macbeth, on focus and of a great prominence her high notes in the finale of Act I.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 19, 2021
December 22, 2021 Proopera • (by Massimo Viazzo)
“Also Chiara Isotton (Dama di Lady Macbeth) and Ivan Ayon Rivas (Malcom) showed an excellent vocal and scenic presence.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 13, 2021
December 18, 2021 GBopera •(by Camilla Simoncini)“Above all, Chiara Isotton’s Dama, who rises with an excellent high C note in the ensemble concluding Act I.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 15, 2021
December 15, 2021 Operagazet.com
“…and we would like to point out two interesting voices in the minor roles: the young tenor Ivan Ayon Rivas (Malcolm) and especially the queen’s Lady, Chiara Isotton. We await both in more demanding tests” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7,2021
December 13, 2021 Drammaturgia.it •(by Vincenzo Borghetti)
“Really good were the second leads: Chiara Isotton, Dama of Lady Macbeth, who gave an astonishing high C note in the first finale.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala- December 10, 2021
December 13, 2021 Raffaello Malesci
“Excellent all the second leads, among whom Chiara Isotton (Dama di Lady Macbeth) and Andrea Pellegrini (Medico) stand out.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 13, 2021 Iteatridell’est.com • (by Nicola Salmoiraghi)
“All the members of the cast were of high quality. From the ringing voice of the authoritative Ivan Ayon Rivas’ Malcom, to the extremely present voice of Chiara Isotton’s Dama di Lady Macbeth (whose high C note was a real lightening in the concerted finale of Act I), both still engaged on important stages with major roles, in which we hope to hear them again, also in this occasion.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 10, 2021
December 10, 2021 Il Giorno •(by Grazia Lissi)
“In Verdi there are not “minor roles”, everyone is fundamental to the story; the choice of Chiara Isotton, the Dama of the Lady, is excellent, she takes part to the choir, to the recitatives until the destruction. We have already realised that the singer from Veneto is a talented person while listening to her in the paper of Flora in “Traviata”. MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 8, 2021 Operaclick • (by Danilo Boaretto)
“Vocally perfect the Dama of Lady Macbeth interpreted by Chiara Isotton.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 8, 2021 Connessi all’Opera •(by Roberto Mori)
“How luxury the presence of Chiara Isotton as the Dama.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 8, 2021 Classic Voice •(by Alberto Mattioli)
“The second leads are excellent, with honourable mention for the ringing Malcom of Iván Ayón Rivas and the high C note of Chiara Isotton, essential in the finale of Act I, as Netrebko’s did not reach.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 7, 2021 Operalife •(by Maurizio Meandro)
“Vocal mention should be deserved by Chiara Isotton and Iván Ayón Rivas. The Dama of Lady Macbeth and stooge of Anna Netrebko is an often forgotten second lead, but that from the emotive point of view (and sometime from a vocal one) strengthens the leading lady. Isotton demonstrates independence and confidence without suffering from the weight and the vocal size of her neighbour.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 7, 2021 Operalibera.net •(by Marco Faverzani and Giorgio Panigati)
“Wonderful Chiara Isotton’s Dama, soaring, among the rest, during the concertato of Act I”. MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
December 2021
Massimo Venuti
“It is with pleasure that we quote the good performances of the soprano Chiara Isotton as the Dama di Lady and of Andrea Pellegrini as Medico.” MACBETH (Dama di Lady Macbeth), Milano – Teatro alla Scala – December 7, 2021
October 12, 2021 La Repubblica – Parma “Two promising tenors such as Matteo Desole and Riccardo Della Sciucca (also protagonist in the last Simone of the Festival) were heard in the Verdi roles, but above all in the Nabucco impressed Chiara Isotton, a young soprano who seems destined for a great future if she keeps the promises he has let glimpse. ” Final concert of “Arturo Toscanini” International Conducting Competition, Parma – Teatro Regio 23 October 2021
August 8, 2021 GB Opera • (written by W.C. Costabile Cisco)
“Chiara Isotton is a decisive contribution to this musical rendering, having already interpreted Tosca several times, she tackles the role with a disarming ease: her lyrical timbre with velvety nuances, her fluid, consistent singing that exalts the richness of the phrasing, and her remarkable stage presence all speak clearly to Isotton’s talent, and to her choice to sing alongside Salsi and Meli.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
August 8, 2021 I teatri dell’Est • (written by Andrea Merli)
“My curiosity ever since I saw a selection of Il Trovatore about five years ago organized by Gianmaria Aliverta at the Teatro Rosetum in Milan as a tribute to the legendary Angelo Loforese, was to finally hear Chiara Isotton in the role of the protagonist after having appreciated her singing many times in supporting roles at Teatro alla Scala. Well, she has exceeded my rosiest and most tender expectations with generous singing, always controlled but without compromising on the ‘spoken’ lines, even in points where we’d have accepted it: ‘Quanto? Il prezzo!’ and ‘voglio vederlo’ and so on. With a smooth voice, full, round and of a purely lyrical color, with good projection even in lower ranges, she perfectly supports each note acutely and with confidence, in beautiful and bright high notes. But where she truly seduced the audience was in the aria, which often can be a snare for singers, either for their fame or for the tendency toward exaggeration. Here it was like a prayer, with a wise and fascinating use of the mezza voce and a highly emotional piano and pianissimo singing. It was a grand and personal satisfaction to confirm the merits of this woman of great character trained in the Italian opera school tradition and from whom it is worth waiting for many other beautiful performances in the future.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
August 4, 2021 The blogartpost
“As we mentioned above, the cast was anchored by three performers of international acclaim. The role of the protagonist was entrusted to Chiara Isotton who gave life to a pained and submissive Tosca, but one who is capable of moments of fury that deeply touched the viewer. Vocally, her performance was excellent, with precise and piercing high notes, as well as well-marked midrange and bass timbre. Her rendition of ‘Vissi d’arte’ was very touching, rewarded by the abundant applause of the public.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
August 2, 2021 OperaClick • (written by Patrizia Monteverdi)
“Chiara Isotton’s performance of Tosca is imbued with great character. The soprano has a full-bodied tone rich in harmonics supported by excellent technique that allows her to enrich all the personality facets of her role. Particularly notable, in the second act, after the robust and determined confrontation with Scarpia, the sorrowful aria ‘Vissi d’arte’ is a moment of extreme and private solitude, sung softly, with an introspective mood that increases in intensity in a peremptory plea to God which flows, fading seamlessly into the successive lament.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
August 1, 2021 Apemusicale • (written by Antonino Trotta)
“Chiara Isotton confronts Tosca with fiery personality: her pugnacious, unrestrained singing follows the image of a prima donna who does not allow herself to be corroded by hypocritical remorse, who does not hesitate to direct her feral hand towards Vitellius’ empty chest. Isotton breaks down the difficult writing with ease: her voice has a beautiful color even when reciting context, it is rather homogeneous, with solid and controlled delivery which even in descent toward lower ranges is textured and developed, its High C like a thunderbolt, while showing off beautiful, perfectly supported soft volumes that enrich a decidedly strong-willed phrasing. True that compared to some renditions of ‘Vissi d’arte’ she may have shown a few moments of shortness of breath that inevitably are reflected in a more fragmented, restless melodic arc, but it is also true that the long-awaited aria comes after a vocally grueling scene and it is often difficult to find the right level of relaxation to sing this cinematic close-up on the protagonist as if nothing has just happened.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
July 30, 2021 Le salon musical • (written by Gian Francesco Amoroso)
“The very young Chiara Isotton’s interpretation in this direction of Tosca is fresh, lively, passionate and temperamental but balanced in its excesses. From the very first act, Isotton shows off a booming voice, while soft where it needs to be, yet never compromising diction, powerful in the center range and soaring in the high notes.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
July 30, 2021 OperaTeatro • (written by Raffaello Malesci)
“Chiara Isotton, the least experienced of the three, was a real revelation, inspired and drawn in by her magnificent colleagues. In fact, the soprano from Belluno has an attractive figure and a careful and calibrated stage presence that allows her to embody Tosca with credibility. She has refined a beautiful voice, homogeneous, with good projection and supported in the treble range. She does not lack neither phrasing ability nor the air of a prima donna. Some slight roughness in her is easily forgiven, probably due to her lack of years on stage.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
July 30, 2021 OperaLibera • (written by Cristina Miriam Chiaffoni)
“The vocal quality and personality traits of each character are well-defined and chiseled, starting with the protagonist to whom Chiara Isotton gives voice and soul. And what a voice! Polished and exemplary in the medium-low register, stellar and sure in the high notes (her High C is memorable) and very musical. Only a little bit of moxy is missing in the furious and impulsive scenes sung by the role as well as injecting some personality in the recited phrases such as ‘E avanti a lui tremava tutta Roma!’ (‘And all Rome trembled ahead of him’) to make the young soprano from Veneto’s interpretation of Tosca the performance against which to measure all others.” TOSCA (Tosca) – Palazzo Farnese/Fondazione Teatri Piacenza – Piacenza, Italy, July 2021
July 22, 2021 OperaClick • (written by Martino Pinali)
“The supporting cast is luxurious, with the proven and always precise Messaggero by Carlo Bosi, and the pleasant surprise of the Gran Sacerdotessa (High Priestess) played by Chiara Isotton, who has replaced a colleague in the role.” AIDA (Gran Sacerdotessa) – Arena Di Verona – Verona, Italy, July 2021
October 28, 2020 Teatro.it • (written by Gilberto Mion)
“Now, as the protagonist we unveil the soprano Chiara Isotton, who, just a year ago, captured us with her interpretation of Tosca at La Fenice Opera House. This latest performance confirms her considerable qualities: a voice that has excellent depth, a pleasant velvety timbre and variety of intonations and inflections. Her solid expertise helps her to master every pitfall of the difficult text, with a clear expression in the high notes and fullness in the low notes.” TOSCA (Tosca) – Teatro Comunale Mario del Monaco – Treviso, Italy, October 2020
October 7, 2020 LA STAMPA • (written by Alberto Mattioli)
“Chiara Isotton and Francesco Pittari are also excellent in the insidious roles of supporting characters the Gran Sacerdotessa (High Priestess) and the Messenger.” AIDA (Gran Sacerdotessa) – Teatro alla Scala – Milan, Italy, October 2020
September 16, 2020 LA REPUBBLICA • (written by Angelo Foletto)
“Chiara Isotton stood out among the others.” LA TRAVIATA (Flora) – Teatro alla Scala – Milan, Italy, September 2020
December 9, 2019 GBOpera • (written by Gabriele Verdinelli)
“Chiara Isotton’s Leonora is also excellent, admirable both in the beautiful quiet moments and in the confidence of her high register on all dynamics. ‘Tacea la notte placida’ was particularly chiseled with refined expression and taste, although her whole performance could be defined by vocal sumptuousness, technique and a variety of inflections.” IL TROVATORE (Leonora) – Ente Concerti De Carolis Sassari – Sassari, Italy, December 2019
September 5, 2019 Giornale della Musica • (written by Stefano Nardelli)
“Perhaps only Chiara Isotton gives a mature performance and with the vocal bandwidth perfectly calibrated to the contrasting and expressive range of the protagonist role (her ‘Vissi d’arte’ was met with rigorous applause).” TOSCA (Tosca) – La Fenice Opera House – Venice, Italy, September 2019
September 7, 2019 Teatro.it • (written by Gilberto Mion)
“We discover a voice with great promise. It was intriguing to see soprano Chiara Isotton from Belluno who, six years ago and fresh from winning the ‘Belli competition’ (Competition for Young Opera Singers by the Teatro Lirico Sperimentale di Spoleto), made her debut at the Teatro Caio Melisso in the role of Floria Tosca. Born in 1985, she’s not exactly young but rather at the age when a woman’s personality and voice are considered mature. And, in fact, they are. She has a spirited temperament, fiery sensuality and explosive stage presence: supported by eloquent gestures, impassioned gazes and undeniable magnetism. Her voice is tonally voluptuous, in a wide and colorful range capable of handling the challenging script without too many problems. Therefore, it’s strange her name is not more widely known in our theaters.” TOSCA (Tosca) – La Fenice Opera House – Venice, Italy, September 2019
January 24, 2019 Apemusicale.it
“Finally, overall quality is illustrated in an example by a supporting role: when Flora by Chiara Isotton joins the others to say tell Alfredo ‘how unimpassioned! Bravo!’ she delivers a sarcastic note of disapproval in solidarity with her friend Violetta.”. LA TRAVIATA (Flora) – Teatro alla Scala – Milan, Italy, January 2019
January 12, 2019 Operaclick.com • (written by Danilo Boaretto)
“Splendid Flora played by Chiara Isotton, both from a vocal and scenographic point of view.”. LA TRAVIATA (Flora) – Teatro alla Scala – Milan, Italy, January 2019
October 31, 2018 Platea Magazine • (written by Javier Labrada)
“With the cancellation of Tatiana Lisnic’s appearance due to a sudden viral infection, we had the opportunity to discover the talent of Chiara Isotton, who has a forceful lyrical-spinto soprano voice capable of shining with its own light alongside a brilliant Kunde. This was demonstrated by her confidence in her first performance ‘In quelle trine morbide’ and her professionalism singing Pagliacci’s ‘Qual fiamma avea nel guardo… Stridono lassù,’ with sheet music in hand because of the last minute substitution that crowned her in the role, performing a harrowing song with an acute outcry that flooded the stands with emotion. Not to mention her brilliant version of ‘Vissi d’arte’ which demonstrated how well the role of Floria Tosca seems to fit her current vocal ability. In fact, she will interpret the part at La Fenice Opera House in August of next year. In the end, it was a great choice to suddenly rely on Isotton to take the lead in this concert that, had it not benefitted from the partnership and talent of the Italian singer, we would have been deprived of moments like the duo ‘Già nella notte densa,’ which reflected a masterful blend between the voices of both protagonists preceded by an inspired performance by Gabriel Ureña as First Cello of the Oviedo Filarmonía Orchestra.” CONCERT with Gregory Kunde, directed by Christopher Franklin, Auditorio Palacio Príncipe Felipe de Oviedo – Oviedo, Spain, October 2018
September 8, 2017 Bachtrack • (written by James Imam)
“Chiara Isotton – the fast-rising Teatro alla Scala regular – painted a pleasingly flustered Gertrud in her rich, full tone.” HANSEL AND GRETEL (Gertrud) – Teatro alla Scala – Milan, Italy, September 2017
September 5, 2017 Il Giorno (Milano) • (written by Elvio Giudici)
“The grueling difficulty of Mother’s life is well-rendered by Chiara Isotton.” HANSEL AND GRETEL (Gertrud) – Teatro alla Scala – Milan, Italy, September 2017
September 3, 2017 Connessi all’Opera • (written by Andrea Della Bianca)
“Chiara Isotton gives a generous performance of Gertrud; the slight tension on high notes conveys the idea of an exasperated and desperate mother at the end of her rope.” HANSEL AND GRETEL (Gertrud) – Teatro alla Scala – Milan, Italy, September 2017
April 10, 2016 La Repubblica • (written by Angelo Foletto) “… among which the grotesque role of Bruno de Simone and Chiara Isotton stood out.” LA CENA DELLE BEFFE (Cintia) – Teatro alla Scala – Milan, Italy, April 2016
April 4, 2016 OperaClick • (written by Ugo Malasoma)
“The Cintia by Chiara Isotton combines an opulence of character traits with exuberant timbre, both perfect for transforming a banal waitress into a sexy bombshell.” LA CENA DELLE BEFFE (Cintia) – Teatro alla Scala – Milan, Italy, April 2016
February 24 , 2015 Forumopera.com • (written by Jean-Marcel Humbert)
“Finally, the exceptional Gran Sacerdotessa (High Priestess) by young Chiara Isotton serves to remind us that great stars, from Teresa Stich-Randall to Joan Sutherland, often began their careers with poorly assigned roles: let us hope that Isotton will follow in their path.” AIDA (Gran Sacerdotessa) – Teatro alla Scala – Milan, Italy, February 2015
February 28, 2015 GBOpera • (written by Camilla Simoncini)
“…ethereal Gran Sacerdotessa (High Priestess) of Chiara Isotton” AIDA (Gran Sacerdotessa) – Teatro alla Scala – Milan, Italy, February 2015
July 21, 2015 Ieri, oggi, domani, opera! • (written by Stefano de Ceglia)
“The supporting actors also did well, with a note of praise to the Gran Sacerdotessa (High Priestess) played by Chiara Isotton, a singer I hope to hear perform again as soon as possible, and to whom, for her vocal beauty and talent, I wish a very happy career.” AIDA (Gran Sacerdotessa) – Teatro alla Scala – Milan, Italy, February 2015
September 27, 2015 Tutt’oggi • (written by Carlo Vantaggioli)
“The soprano Chiara Isotton, gives an energetic Mimì in the face of the suffering that consumes her, never resigned, with a vivid and at times indomitable voice.” LA BOHEME (Mimì) – Teatro Lirico Sperimentale di Spoleto “A. Belli” – Spoleto, Italy, September 2015
February 17, 2015 Corriere della Sera • (written by Paolo Isotta)
“… Gran Sacerdotessa (High Priestess), the excellent Chiara Isotton” AIDA (Gran Sacerdotessa) – Teatro alla Scala – Milan, Italy, February 2015
October 8, 2013 GothicNetwork.org • (written by Livia Bidoli)
“The romances of Tosca and Mario Cavaradossi are of inescapable power. From Cavaradossi’s ‘Recondita armonia’ to Tosca’s ‘Vissi d’arte’ to the sensational conclusion ‘E lucevan le stelle,’ a series of unexpected thrills stir and move the audience with the singing talents of Paolo Lardizzone and Chiara Isotton. The latter, in ‘Vissi d’Arte’ and in the tragic recitation of the climax leading to the death of Scarpia (the talented Valdis Jansons, baritone), is chilling, not only for experts, but for the public with its varied makeup (consisting of many young people also present at Teatro Morlacchi in Perugia where we saw Jansons on October 1st), confirming the absolute excellence of the performance.” TOSCA (Tosca) – Teatro Lirico Sperimentale di Spoleto “A. Belli” – Spoleto, Italy, October 2013