May 13, 2023 Connessi all’Opera •(by Jorge Binaghi) “Anticipated with much interest, Chiara Isotton’s debut in the part of Magdalene de Coigny turned out to be the real highlight of this performance. Possessing an imposing voice of equal beauty, homogeneity and confidence in all registers, the Venetian soprano asserted herself right from the first act, but of course the first trial by fire came in the second act with the great duet “Ora soave, sublime ora d’amore” where she flaunted absolute mastery in her daring attack of the opening phrase, but also made her mark with her clear and precise articulation of the text, and her ability to make the recitative and the spoken word natural (most remarkably the phrase at Magdalena’s arrival “ancor nessuno… ho paura.” “still no one… I am afraid.”) The performance of her great aria then makes it possible to make a definitive judgment: in “La mamma morta,” highly acclaimed by the audience, Isotton in fact proved herself to be a worthy heir to a long tradition of glorious Italian soprano voices that seemed now a thing of the past. And I am not referring only to the high notes, which are never forced, but also to the powerful and natural basses, never open, and the mezzevoci (perhaps still a bit to be perfected, as much as possible considering the importance of the voice). Last but not least), the singer did not need to insert an unscripted puntatura to finish the aria “beautifully” and garner applause. Crucial was her contribution also in the grand final duet, where she really shone by triggering an ovation, which continued with each appearance alone on the proscenium. I would not say that a star has been born, because Chiara Isotton has worked hard and spent perhaps too long rising through the ranks before arriving at such results, but surely this performance has consecrated an excellent singer and performer.” ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 14, 2023 Premiereloge-opera •(by Antonio Samson) “The revelation of the evening was the graceful, seductive and tenderly passionate Maddalena of soprano Chiara Isotton, making her debut in the role. Endowed with a mellow, persuasive timbre, a voice equal in all registers– clearly of the Belcanto school of technique– and a delivery that is never forced and always ‘on the breath’, the soprano demonstrates that she has all the assets for a brilliant career!” ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 15, 2023 L’Ape Musicale •(by Luca Fialdini) “Chiara Isotton is the real revelation of this production. Making her debut as Maddalena di Coigny, Isotton possesses an incredibly consistent instrument throughout, always rounded and with seamless register transitions; there are numerous gems in the high register, where her technical control and wealth of harmonics allow her a soft and well-supported delivery. The soprano proved herself a master of the situation at every moment of the opera, right from the treacherous attack of “Ora soave, sublime ora d’amore”; she also made a fine display of diction that was nothing short of impeccable, phrasing with sharp, clean articulation. Wildly applauded in the beloved “La mamma morta,” Chiara Isotton has established herself as a performer of the highest order, and we look forward to hearing her again soon.”
ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 27, 2023 OperaLibera •(by Marco Faverzani) “With the performance we attended, Chiara Isotton made her debut in the role of Magdalene de Coigny. The soprano possesses a vocality rich in harmonics and with an exquisitely lyrical timbre. The centers sound mellow, the high notes secure and well projected, and the low notes natural. In general, she reveals a supple and well-supported line that allows her to tackle the writing with a certain ease. Vocally, the touching performance of the marvelous Act III aria “La mamma morta,” was a highlight, embellished by beautiful mezzevoci, but also worthy of mention is her luminous high register in the final duet with Chénier. It was also a well-executed performance in terms of interpretation, where Isotton manages to convey the evolution of the character, from the carefree attitude of Act I, to the inner strength and resolve of the
subsequent acts and, in particular, the finale. A perfectly successful debut and largely rewarded by the audience’s applause at the end.”
ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 12, 2023 I teatri Dell’Est •(by Nicola Salmoiraghi) “Chiara Isotton made her debut as Maddalena di Coigny and received the loudest applause of the evening. This soprano, now launched towards a luminous and well-deserved international career, once again reaffirmed all the merits attributable to the most glorious Italian school of singing: a voice of beautiful texture, consistent throughout the range, with centers and basses of velvety splendor, radiant high notes, pianissimi perfectly resting on the breath, remarkable volume, intense emotional participation, vibrant and passionate phrasing. A captivating performance, culminating, in addition to the enthralling duets with Eyvazov, with a masterful performance of “La mamma morta” in which one did not know whether to admire more the beauty of the singing or the palpable authenticity of the artist.”
ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 22, 2023 Mundoclasico.com •(by Jorge Binaghi)
“On the first time playing Maddalena in Isotton’s career: One says to oneself ‘what courage’ to debut such a role at La Scala with the tradition that work and character have there. The pity is that she has only been entrusted with two appearances. I sincerely hope that the era of ‘cover’, of a single performance (hopefully) among the last ones, and of only small roles, is over for her. Someone said, I think rightly, that it’s reminiscent of what happened at the time with Giulietta Simionato. I hope and wish that [Isotton] has the same reward and satisfaction, although I think that due to such an unpleasant but real issue as age, I will not be the one to see it. If she was nervous, it did not show; she moved with confidence (of course, she had done a good part of the rehearsals), she had no hesitation, the text was clear and very naturally spoken.” But not only for that did she make us think of the great Italian voices of the past. She knows how to speak (the entrance in the second act may seem banal, but it depends on how it is said, and I will remember this ‘ancor nessuno…ho paura’), she knows how to sing, she has a very good technique (if the fullness of her ability allows it, perhaps she can lengthen and collect her voice more in the ‘piano’ notes – but did anyone ask that of Cigna or Caniglia? Tebaldi or Netrebko do not usually abound), and there is no difference in flow (very important) in bass, center and treble. She is capable of attacking the second act duet without any problem or singing the finale without splitting her lungs while the sound envelops you. And, of course, the famous ‘La mamma morta’. Superb. With just the right emotion, without any exaggeration (neither the censurable ‘punctuation’ at the end that destroys the dramatic effect and that some more or less famous colleague uses to cover up other shortcomings) and a crescendo administered to perfection. She got a standing ovation after the aria and at the end of the show. And (this matters less, but not for me) it justified my trip.”
ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 11, 2023
May 16, 2023 Le Salon Musical •(by Gian Francesco Amoroso) “…The very young Chiara Isotton in the first act restores freshness to the character of Magdalena di Coigny, delving into the more dramatic pages with a tenuous romanticism without ever exaggerating in inappropriate outbursts. Hers is an elegant, important, turned, well-measured singing line and rightly cautious, in that this writing for a young soprano can be extreme and wearisome in the long run.”
ANDREA CHÉNIER (Maddalena di Coigny), Milan, Teatro alla Scala, May 15, 2023
March 8, 2023 GBOpera •(by William Giuseppe Costabile Cisco) “Similarly, Chiara Isotton succeeds in giving Leonora all the delicacy and lacerating vocation for love that characterize her; the Trevisan soprano’s voice is well known to us by now, but here she surprises with her extraordinary control of the singing line, which bends softly on mezzevoci and then reasserts itself forcefully in solid, soaring high notes.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 6, 2023 Connessi all’Opera •(by Fabio Larovere) “In crescendo the performance of Chiara Isotton, a Leonora with a precious timbre and a remarkable range of nuances, precise in the articulation of words, compact in the singing line, of intense expressiveness in the accent. Qualities that are especially appreciated in Act IV and in the magnificent aria “D’amor sull’ali rosee,” which is truly moving.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 8, 2023 theBlogartpost.it “In the role of Leonora was Chiara Isotton who showed off fine operatic voice, chiseled phrasing and determined interpretation, able to give back with her voice the thousand nuances of the character. Of great value was her interpretation of D’amor sull’ali rosee.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 3, 2023 Le Salon Musical •(by Gian Francesco Amoroso) “At her side Chiara Isotton impersonates a young and fresh Leonora, palpitating but at the same time noble in phrasing and bearing so much so that she seems to have stepped out of a medieval fresco. Her soft and pliant voice was able to go along with the not so simple writing of Verdi’s heroine giving a capital proof in the tower scene with yarns and expressive research of great interpretive maturity.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, 3 marzo 2023
March 6, 2023 I Teatri dell’Est •(by Nicola Salmoiraghi) “What to write about Chiara Isotton’s Leonora? That Verdi (and much else, I would say) is sung like this. A splendid rehearsal for vocal splendor, interpretive involvement, homogeneity among the various registers (as resplendent in the high notes as she is turned in the middle and velvety shadowy in the low notes) Chiara Isotton does not miss a beat, whether it is in stretching her singing in the lyrical pages – what a marvel of ecstatic transfixion and purest sound her “D’amor sull’ali rosee” – or in conquering the role’s fearsome coloraturas, shelled out to perfection, including the perilous descending agilities of “Tu vedrai che amore in terra,” performed twice. Bravissima, ché brava would be little.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 7, 2023 Il Giornale della Musica •(by Alessandro Rigolli) “The Leonora embodied by Chiara Isotton, a performer with a solid vocal texture corroborated by an effective interpretive sensitivity, capable of sketching with conscious determination even some of the nuances of the demanding solo sorties.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 3, 2023 OperaTeatro •(by Patrizia Zamboni) “The young soprano Chiara Isotton completed her training at the Accademia di Canto del Teatro alla Scala: I must emphasize that this institution forged another beautiful voice. She is a passionate, desperate Leonora, as young as the character is in age, but vocally and scenically mature. Much appreciated in her arias, engaging in the duets, vocally and scenically suited to the role.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 3, 2023
March 8, 2023 Il trillo Parlante •(by Mattia Marino Merlo) “Exceptional, without exaggeration, Chiara Isotton’s Leonora: the very young soprano has
sketched with refined elegance the melancholy and suffering profile of a woman, prey to men and fate, who would like to live her love with sweetness, but who is confronted with atrocious choices and is forced to struggle, even with death, to stand up for herself. There is little to add, except that this is the Leonora one would like to see and hear more often in the theater. The timbre is velvety, enveloping and full-bodied, overflowing with harmonics and precise in bringing out the character’s typical features, especially in the middle register and in the pianissimi, which are very fine and perfect. Remarkable is also the flair with which she tackles the cabalettas, resolved without forcing and with the grace of bel canto, with high notes that can certainly be perfected, but are already solid and well projected; however, it is in “D’amor sull’ali rosee” and in the Miserere that she captivates us, moving us to emotion both for the beauty of her voice and delivery, and for the dramatic nature of her phrasing, exuding suffering and participation. Success well deserved and destined to endure.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
March 7, 2023 DerOperFreund •(by Eva Pleus) “A convincing Leonora was Chiara Isotton, whose soprano is beautifully rounded and also has the necessary sonorous depth needed for ‘m’avrai ma fredda esanime spoglia’. Her crown of dark blond hair gave her an almost maternal charisma.”
IL TROVATORE (Leonora), Piacenza, Teatro Municipale, March 5, 2023
October 31, 2022 Connessi all’Opera •(by Fabio Larovere) “Lively success at Milan’s Teatro alla Scala for the two leads in Umberto Giordano’s Fedora, in the new production designed by Mario Martone. Soprano Chiara Isotton, called to replace the indisposed Sonya Yoncheva, and tenor Fabio Sartori, already on the bill after the first performances entrusted to Roberto Alagna, were applauded at length by the audience. And with good reason. Chiara Isotton presents a portrait of the protagonist all set on singing, without ever lapsing into the temptation of gratuitous effect, always around the corner when it comes to titles like this, ascribed to the verismo aesthetic. This is the case, for example, in the poignant finale, where certain unpleasant expressions bordering on the spoken word are not heard. Isotton works hard on the accent, finding the right measure to convincingly render the portrait of a protagonist who is both a woman of power and a woman in love. She does all this with an important lyric soprano voice, broad and full, with beautiful color, well projected and supported by remarkable musicality”
FEDORA (Fedora), Milan, Teatro alla Scala, October 30, 2022
October 31, 2022 I teatri dell’Est •(by Nicola Salmoiraghi) “…Chiara Isotton, cover for all performances and called on stage due to an indisposition of Sonya Yoncheva. She was a wonderful surprise, or, for those who already know the soprano, a confirmation of her great qualities. I will not return to sides of the production already examined in my previous critique, but I will begin by saying that, at last, I heard Fedora being sung and phrased properly by the leading lady. Chiara Isotton possesses a voice of beautiful grain, homogeneous in all registers, rich in harmonics and ample in volume. Both the rapacious ascents in the high notes, and the pianos or lunges in the low notes (real, not invented, and never loaded or, worse, in search of affectation) are governed by an iron-clad technique. She phrases, accents, expresses, colors the phrase with intention and palpitating eloquence and incisiveness. The stage presence is authoritative and calamitous (too bad about the costumes in this production, so poorly designed and penalizing), the performer is passionate and engaging; “O grandi occhi lucenti,” “Dio di giustizia,” “Tutto tramonto, tutto dilegua” were textbook sung, with the opera’s finale all floating on the breath and on the edge of emotion for the listener. The great duet-confrontation with Loris, then, in the second act, of overwhelming vocal and theatrical impact, was one of the summits reached by Chiara Isotton during this performance.”
FEDORA (Fedora), Milan, Teatro alla Scala, October 30, 2022
September 25, 2022 Opera Libera •(by Maria Cristina Chiaffoni) “Very sweet, almost fragile, but steely in the moment of action is Chiara Isotton’s Leonora, a soprano with a lush, colorful and copious voice in the lower middle register, almost mezzo-soprano-like, and pearly in the high notes. The Venetian singer, thanks also to a beautiful elegant figure and an angelic and luminous face, sketched a lively and important character, supported also by a skillful musicality and technique.”
IL TROVATORE (Leonora), Venice, Teatro la Fenice, September 23, 2022
June 10, 2022 Premiereloge-opera.com •(by Hervé Casini) “It was a masterstroke by the Artistic Director to entrust Elisabetta to the Venetian soprano Chiara Isotton! Already a frequent visitor to the great international stages, but still to this day in minor roles— we recall her “lady” alongside Anna Netrebko in the opening Macbeth of this season at La Scala— Chiara Isotton’s forward soprano with all its attributes, particularly wide and equal range from the low register to stratospheric, angelic high notes, is simply the authentic sound required for the role (making me think irresistibly of Margaret Price, heard in the same role). Isotton’s is a sovereign technique that allows her suspended moments in “Non piar mia compagna” but also in the concertato then, finally, in an anthology “Tu, che le vanità”. The emotion felt, palpable in the room but also on the face of the diaphanous beauty of this exceptional performer, will not cease to haunt us, several hours after the end of the show.”.
DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 5, 2022 Olyrics.com •(by Firenze Lethurges) “Soprano Chiara Isotton blends with the nobly tormented stature of the role of Elisabetta. His instrument, large, plastic, ductile, stretches or folds, thanks to the virtuosic motifs that the score reserves for it. His way of entering the orchestral sound, or that of his companions, especially in duets, is always fair and controlled. It grabs the listener by a trembling vocal thread that projects and declaims like a tragedy, mobilizing all the resources of an instrument capable of bringing out large amplifications. His held pianissimi, as if breathless, only become more suggestive and reveal sound zones with the powdery timbre of a white lily, especially on the name of Carlo.”
DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 2022 Opera-online.com •(by Emmanuel Andrieu) “Apart from one role (that of Philip II), the cast has been completely renewed by Maurice Xiberras, in which the Italian soprano Chiara Isotton, in the role of Elizabeth, is a real revelation. She portrays the queen in an extremely moving way; her slightest accent is touching, and we believe in her character from beginning to end. Because [Isotton] has a radiant and admirably guided voice, which gratifies us with some memorable high notes, or some particularly resonant lows, with the same naturalness and ease”.
DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 2022 Odb-opera.com •(by Stéphane Sénéchal) “Elizabeth is not such an easy role to assign. Elisabetta’s voice is almost that of a falcon, a type of soprano with less stalwart highs but an impressive low range. In opera, maturity in the voice is often characterized by ranges, and thus registers, that are more unusual in the bass. Let us remember that like Violetta’s health in La Traviata it requires a deeper voice, for this at the end of her role in her aria from “tu che le vanità” CHIARA ISOTTON’s Elisabetta courageously faces the blows of her fate with breathtaking breath and offers us a moving Elisabetta, especially in the medium and low register of her voice. Prior to the ardent and nuanced duet with Don Carlo “addio per semper”, her aria is of rare significance for its emotional intensity, and a perfect mastery of the score with the beauty of its high notes.
Don Carlo da Marseille therefore found the right voice and charisma for this complex role to perform, with the extraordinary soprano Chiara ISOTTON debuting the role better than perfect, as the ideal embodiment of the role. This artist with a full voice, iron technique, ceaseless, sure and reassuring breathing (nothing worse as a listener than breathing with the singer…), knows how to provide what is needed in terms of forte, piani, pianissimi, mesa di voce, fine sounds, with a homogeneous sound and vocal range from extreme bass to full treble, that the job requires.All this, with a sustained legato that supports a sincere and well-acted intention of all the emotional and psychological angles of the role, which alternates haughty and meditative nobility, from her rank as queen to the melancholic and nostalgic fragility of the meanderings of life, and the love of the woman that she is.
The artist who manages to make us feel like we understand the woman behind the queen has won her bet; the audience bursts into applause at the end of her arias and ensembles.”
DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 2022 Benitopelegrin-chronique-blogspot.com •(by Benito Pelegrin) “A beautiful, dignified queen worthy of her rank, Chiara Isotton is right at home in this role which she performs for the first time; a fleshy voice, without heaviness, without darkness in the bass, silky, luminous and full timbre in the high pitches, it rises and falls with ease. She is a sensitive and credible Elisabeth of Valois, torn between love and duty, but rigorously faithful to her rank, her honour, her appearance and sovereign figure, with a touching naturalness in all her gestures and expressions. Overwhelming in her blues, farewells wet with tears to her companion, the Countess of Aremberg sent back to France by the ruthless Philip for the crime of having for a moment distanced himself from the inflexible label of having left the Queen of Spain alone for a moment. Her last aria, terrible in length and leaps, is masterfully sung; it sounds like a tragic baroque vanity softened by human pain and tears, from forte to touching pianissimi.” DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 14, 2022 GBOPERA •(by Jocelyne De Nicola) “Chiara Isotton is a very beautiful Elisabetta, haloed with light, a light that we find in her voice. A remarkable debut in the role that seems at ease in the contrasting feelings and conducting of the song. The voice is superb in every nuance, in the vocalizations or in the purity of the high notes. Her breathtaking technique gives way to musicality and understanding of character. Sensitivity, breath control and vibrato in a voice color never criticized. Chiara Isotton is a superb Elisabetta with a magnetic game”. DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 2022 Concertclassic.com •(by Michel Egea) “By choosing to entrust the role of Elizabeth to Chiara Isotton, Maurice Xiberras, general director of the Opéra de Marseille, emerges victorious. The performance of the role turned into a memorable success for the soprano; a sensitive and delicate queen, always on the edge of emotion but never in difficulty. The voice is precise and elastic, controlled and seductive”. DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 6, 2022 Destimed.fr •(by Michel Egea) “Risk taking is characteristic of a programmer who has to prepare his distributions two, even three or four years, before the works are done. For this “Don Carlo”, Maurice Xiberras, director of the Marseille opera, showed audacity by proposing to two young artists to play some of the most exposed roles in the opera. Thus the soprano Chiara Isotton became Elisabetta, for the first time in her career, while baritone Jérôme Bouteiller does the same in the role of Rodrigo di Posa. On premiere night, we have to admit the choices were wise. Chiara Isotton embodies her character with an assertive presence, giving the queen her dual personality as a young woman in love, delicate and fragile, but also as a lucid and realistic statesman. The voice is beautiful, full and confident, not without delicacy or projection. An interesting performance.” DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 5, 2022 Forumopera.com •(by Maurice Salles) “Faced with an Eboli like this, a great Elisabetta was needed. Maurice Xiberras found it, or rather he intuited it when Chiara Isotton made her debut in the role. What can we say except that it has never ceased to amaze us? An extended, full, homogeneous voice, capable of bursts or pianissimi, radiant trebles, a meaty mezzo, sonorous basses, and above all an admirable way of using this instrument. The technique is there, but also the sensitivity, which, for example, makes the queen’s farewell to her servant a moment in which time has stopped. And this same sensitivity allows the artist to embody the character giving the impression of a moving sincerity: melancholy, troubled, reticent, indignant, determined,
this Elizabeth retains the nobility of pure hearts to the end. Admirable.” DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
June 6, 2022 Lamarseillaise.fr •(by Patrick di Maria) “The soprano Chiara Isotton is a touching Elisabeth of Valois with a rather finely controlled sound, imposing high notes as demonstrated by her aria ‘Tu che le vanita’ … which was long applauded.” DON CARLO (Elizabeth of Valois), Marseille, Municipal Opera, June 3/5/8/11, 2022
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