Lawrence A. Johnson, South Florida Classical Review

Sarasota Opera, Don Carlos

Marco Nistico was even more outstanding than six years ago, blending dramatic credibility and superb vocalism in the most convincing fashion. The Italian baritones voice has grown in weight and power, and Nistico served up a commanding Cest mon jour suprême and rousing account of the oath duet, Dieu, tu semas dans nos âmes with Carlos.


A. Kaptainis, Classical Voice North America

There is more music for Posa in the 1867 score, and baritone Marco Nisticò brought a sturdy voice and noble bearing to the role.


June LeBell, Sarasota Observer

We’ve never heard Marco Nistico, the evening’s Tonio, sound better. His opening Prologue was resounding. And later, as he became the hunchback, Taddeo in the play-within-the play, his evil image matched his resilient, resonant voice.


Centraljersey.com

Figaro arrives in a cart and introduces himself with a swagger in the “Largo al factotum,” so well known that it has a life of its own in popular culture. Mr. Nisticó’s rapid- fire delivery and crystal-clear diction are a marvel.


NJ.com

Marco Nisticó made an authoritative, not too over-the-top Figaro with a full, robust baritone capped by thrilling top notes.


teatro.org (Italy)

Marco Nisticò è un bravo Guglielmo dalla voce morbida e ben timbrata, espressiva e di colore giusto.


resmusica.com (France)

Après une dizaine d’années passées sur les scènes étasuniennes, le baryton Marco Nisticò (Guglielmo) revient dans son pays de naissance faisant ses « nouveaux » premiers pas sur la scène de Turin. La voix parfaitement posée, régalant son chant avec une simplicité vocale digne des plus grands récitalistes, il charme sans effets inutiles. Magnifique!


Victor Wheeler - classicalsource.com

Marco Nisticò gave an admirable interpretation of Dulcamara's buffo disposition with singing and acting of the highest caliber. Dulcamara's song to the villagers, 'Udite, udite, o rustici', is one of opera's great arias, a torrent of patter set to a series of unctuous melodies that characterize this irresistible fraud who wants nothing more than to peddle his nostrums to the gullible village folk. Nisticò's breathless performance was a splendid piece of comic singing.


Gale Martin - operatoonity.wordpress.com

Marco Nisticò turns in another stellar performance as Dr. Dulcamara, like one who knows he has a gem of a role and mines it for all it's worth. Again, credit Donizetti for writing an engaging role for a bass that's as entertaining to hear as it must be to sing--not an easy task considering the limits of the vocal range.


Financial Times, G. Loomis, March 2010

Sarasota Opera, Giovanna d'Arco

Best of the principals is Marco Nisticò, who sings Joan's father Giacomo with stylistic assurance and a fine baritone.


TheClassicalReview.com Lawrence A. Johnson, 2010

Sarasota Opera, Giovanna d'Arco

The finest moments on opening night were provided by Sarasota Verdi stalwart, Marco Nisticò, as Giacomo. The Italian baritone brought a gravitas, unforced eloquence and refined vocalism to his solos, with especially touching expression to Giacomo's regret at unjustly accusing his daughter, in Amai, ma un solo istante


Sarasota Herald Tribune, Gayle Williams, 2010

Sarasota Opera, Giovanna d'Arco

Her rather suspicious and judgmental father, Giacomo, with baritone Marco Nisticò in the role, successfully gains our sympathy with his smooth, resonant and highly consistent voice.


Wall Street Journal, H. Waleson, 2010

Gotham Chamber Opera, Il Mondo della Luna

As Buonafede, Marco Nisticò displayed a warm baritone and good comic timing.


The New York Times, A. Tommasini, July 2009

Caramoor Center for Music and the Arts, The Elixir of Love

The baritone Marco Nisticò brought vocal aplomb and comic pizzazz to Dulcamara.


MusicalAmerica.com, James Jorden, July 20, 2009

Caramoor Center for Music and the Arts, The Elixir of Love

Of the two baritones in the opera, Marco Nisticò made the stronger impression as Dulcamara, winning laughs the honest way, through rhythmically lively singing, never resorting to the traditional cheap buffo huffing and puffing.


Opera News, 2009

Sarasota Opera, Don Carlos

As Rodrigue, Marco Nisticò delivered a suave, seamless portrayal of the doomed marquis.


South Florida Classical Review, 2009

Sarasota Opera, Don Carlos

As […] Rodrigue, Marco Nisticò built on his impressive Sarasota debut last season as Francesco in I due Foscari. The Italian baritone was a dashing presence, blending with Manzitti in a thrilling oath duet, and singing with a darkly authoritative tone and firmly focused line.


Musicweb International, 2009

Sarasota Opera, Don Carlos

Marco Nisticò was an excellent Rodrigue exhibiting a beautiful baritone voice coupled with fine acting. He held his own with López Manzitti in the famous loyalty duet and was very effective in his Act III death scene.


Palm Beach Arts Paper, 2009

Sarasota Opera, Don Carlos

Sung by Italian baritone Marco Nisticò, this Rodrigue was memorable for fine acting and beautiful singing. Nisticò's baritone is effortless in its delivery, a joy to hear. His solid portrayal showed a rare stage presence that was calm throughout and brilliant in its interpretation.


Opera (UK), 2008

Sarasota Opera, I due Foscari

It was Marco Nisticò as the elderly Francesco Foscari who lifted the performance to a rarefied level. The Italian baritone brought a firmly focused voice and world-weary dignity to the Doge, signing magnificently in the final scene with authoritative power and subtly detailed feeling.


The New York Times, 2008

Caramoor Center for Music and the Arts, La forza del destino

Marco Nisticò's winning performance garnered plenty of laughs in that [Fra Melitone] role.


Financial Times (London), George Loomis, July 29, 2008

Caramoor Center for Music and the Arts, La forza del destino

And Marco Nisticò projected Fra Melitone's curmudgeonly antics brilliantly and sang impressively as well.


Opera News, 2008

Caramoor Center for Music and the Arts, La forza del destino

Marco Nisticò showed what a gleaming, first-rate voice can do with Melitone's part, and his wiry, comical physicality hit the mark


Sarasota Herald Tribune, 2008

Sarasota Opera, The Barber of Seville

As Figaro, Marco Nisticò used his rich baritone and expert comic timing to bring the role to vivid life


New York Times, January 2007

Gother Chamber Opera, Il Signor Bruschino

Signor Bruschino was updated from a generic buffo character to an oily, scholarly-looking, suit-clad neurotic, excellently acted and sung by Marco Nisticò.