Vincenzo Costanzo<\/a> is one of the most promising and highly regarded young tenors on the world opera scene. Born in 1991, he joined the children’s voice choir of the San Carlo Theater in Naples at the age of six, where he made his debut as a soloist at only 11-years-old in a contemporary opera. From a very young age he began studying singing with Marcello Ferraresi, then perfecting his technique with Piero Giuliacci.<\/p>\nWinner of the Oscar Della Lirica in 2014, despite his young age, Vincenzo Costanzo had already had the opportunity to collaborate with internationally renowned directors and conductors such as Myung-whun Chung, James Conlon, Daniel Oren, Franco Zeffirelli, Emma Dante and Liliana Cavani.<\/p>\n
He has performed on internationally renowned stages such as the Teatro La Fenice in Venice, the Teatro Real in Madrid, the Arena in Verona, the Gran Teatre del Liceu in Barcelona, the Dutch National Opera in Amsterdam and the San Francisco Opera House.<\/p>\n
OperaWire:\u2028Hello Vincenzo, and thank you for speaking to OperaWire. I know you\u2019re busy preparing for your upcoming “Madama Butterfly” in Florence. This role has quickly become a signature for you, as you\u2019ve performed it more times than any other in your career. Do you approach the role with a particular mindset each time, or do you try to focus on something new with each performance?<\/h3>\n
Vincenzo Costanzo:\u2028Hello, and thank you for this opportunity! “Madama Butterfly” is an opera that is very dear to me, and on November 2nd, I will reach my 330th performance of this role\u2014a milestone that fills me with emotion. Each time I perform it, I try to bring something unique to the stage. While there are constants in my approach, such as a profound understanding of the character and his emotions, I always enjoy exploring new facets and nuances. Each new production, under a different director and conductor, provides a fresh perspective on this character, which is the true beauty of Puccini\u2019s music\u2014it constantly offers new depths and possibilities for expression.<\/p>\n
OW:\u2028Undoubtedly one of Puccini\u2019s masterpieces, in this third decade of the 21st century, “Madama Butterfly” seems to ignite certain cultural sensitivities more intensely than ever. Do you think Pinkerton has become a difficult character to defend these days?<\/h3>\n
VC:\u2028Yes, I recognize that Pinkerton has become a topic of discussion in an evolving social and cultural context. It\u2019s essential to approach the role with awareness, acknowledging the complexities of the character and the criticisms that have emerged over time. My intention is to bring a sense of humanity to Pinkerton, showing not only his flaws but also his internal conflict and vulnerability. It\u2019s a challenge, but I believe it\u2019s important to deliver an authentic and deep interpretation of the role. I would also like to add that this is an ancient art form, as Leo Nucci once told me. Our duty as performers is to honor the composer\u2019s work, following his directions and intentions. This respect is owed to the incredible Art we are fortunate enough to interpret.<\/p>\n
OW:\u2028For years now, “Madama Butterfly” has faced significant debate regarding cultural appropriation, American imperialism, child exploitation, and even racism. Does this awareness of its cultural impact influence the way you approach the role of Pinkerton?<\/h3>\n
VC:\u2028Absolutely. It\u2019s crucial to be sensitive to the cultural implications of “Madama Butterfly.” These issues affect how I interpret Pinkerton, as I strive to contextualize the character and his actions within the story, while remaining faithful to Puccini\u2019s intentions for this complex role. It leads me to reflect on how my work might be perceived and on the importance of contributing to a broader conversation through art.<\/p>\n
OW:\u2028Your career has a strong focus on Puccini\u2019s work. Was that an intentional choice, or did it just develop naturally over time?<\/h3>\n
VC:\u2028It was mostly a natural path. I\u2019ve always felt a deep affinity for Puccini\u2019s music, which has led me to interpret several of his characters. Each role has allowed me to explore new dimensions of my voice and self-expression. I haven\u2019t excluded other repertoires, but I\u2019m grateful for the many experiences I\u2019ve had with Puccini. That said, I must add that my career began with Verdi, and I hold the Verdi repertoire close to my heart. I\u2019m certain I\u2019ll continue exploring it in the future.<\/p>\n
OW:\u2028There are currently so many talented tenors from Europe, the US, and even the Far East. As an Italian tenor, do you ever feel pressure to achieve something extra when singing Italian roles?<\/h3>\n
VC:\u2028Italy is the birthplace of opera, and Italian bel canto is celebrated worldwide, along with the highly refined Italian vocal technique. I was fortunate to be born not only in Italy but in Naples, the land of song, where the King of Tenors, Enrico Caruso, was born. I feel blessed to have come from such a rich heritage, so while I\u2019m happy for my talented colleagues worldwide, I don\u2019t feel pressured in that sense. Here, we have the truest and most authentic Italian singing school, and I study diligently every day, with commitment and perseverance, always giving my utmost.<\/p>\n
OW:\u2028Who were your greatest influences from the past, and whose voice has impacted you the most?<\/h3>\n
VC:\u2028One of my greatest inspirations has undoubtedly been Enrico Caruso. His vocal power and emotional expression are a constant source of inspiration. I\u2019ve studied his recordings closely, trying to learn from what made him so unique in his time. Other particularly inspiring artists for me have been Aureliano Pertile and Mario Del Monaco\u2014great interpreters who are references for my own style and phrasing.<\/p>\n
OW:\u2028You\u2019ve mentioned before that you\u2019re learning some of the French repertoire, and I know you\u2019re debuting “Carmen” later this year. What other roles are coming up?<\/h3>\n
VC:\u2028Yes, I\u2019m really looking forward to my debut in “Carmen.” I also have a significant debut coming up soon: Turiddu in “Cavalleria Rusticana” in Beijing with Maestro Riccardo Muti. Following these commitments, I\u2019ll have some major returns to my schedule, including “Tosca” at the Teatro dell’Opera di Roma\u2014a city I hold close to my heart. Then I\u2019ll return to the Teatro San Carlo in Naples, my hometown, for “Un Ballo in Maschera,” where I\u2019ll have the chance to work with another incredible conductor, Pinchas Steinberg.<\/p>\n
OW:\u2028Are there any roles you aspire to perform in the future but feel you\u2019re not quite ready for yet?<\/h3>\n
VC:\u2028I\u2019m still young, but I have almost 15 years of experience behind me. In that time, I\u2019ve learned the importance of living in the \u201chic et nunc,\u201d the \u201chere and now\u201d\u2014a concept dear to the ancient Latins. Today, I focus on embracing the present with joy. Looking back over the past ten years, I never would have imagined being here today. I consider myself a fortunate man, and I want to savor this moment, dedicating myself to study and work with dedication. Naturally, there are roles I dream of performing one day, and I\u2019m confident that they\u2019ll come. I\u2019ve learned that it\u2019s essential to follow a clear path: study, commit, and above all, \u201cspeak little and sing a lot\u201d (he laughs).<\/p>\n
OW:\u2028What do you enjoy doing when you\u2019re not performing your art?<\/h3>\n
VC:\u2028When I\u2019m not on stage, I enjoy reading and listening to music. Spending time with family and friends brings me great joy, and I always try to find moments of calm for reflection and recharging. Life outside of opera is just as important, as it helps keep me grounded and fuels my creativity.<\/p>\n","protected":false},"excerpt":{"rendered":"
(Photo: Michele Monasta) Vincenzo Costanzo is one of the most promising and highly regarded young tenors on the world opera scene. Born in 1991, he joined the children’s voice choir of the San Carlo Theater in Naples at the age of six, where he made his debut as a soloist at only 11-years-old in a contemporary opera. From a very {…}<\/p>\n","protected":false},"author":74,"featured_media":93715,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[254],"tags":[6722],"class_list":["post-93714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-vincenzo-costanzo"],"acf":[],"yoast_head":"\n
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