The Highest-Profile Challenge of a Serious Tenor’s Career


“I honestly wouldn’t have thought to sing it anywhere else without that spotlight,” said Polenzani. “Still, I resisted putting myself in a category because the breadth of my career was so broad. it could be.”

And he praised his colleagues, including the Met’s music director, Yannick Nezet-Seguinconducting as well as orchestra and choir; a cast that also included Sonya Yoncheva, Étienne Dupuis, Jamie Barton and Eric Owens; and your production director David McVicarHe will also stage “Medea” next season.

At its 1867 premiere in Paris, “Don Carlos” in five acts, adapted from a play by Schiller, was considered too long. Verdi reluctantly agreed and oversaw a series of revisions as well as an Italian translation as “Don Carlo”. For decades, in the most extensive intervention, the first act of the work was often cut, and the remaining four acts were usually rendered in Italian.

Inside at the Met in 2010, Nézet-Séguin directed the five-act version (in Italian). Since then, he has been angling at home to introduce the French “Don Carlos”. While plans were being made for this new staging, Nézet-Séguin considered Polenzani for the lead, although he had never sung it in either language.

“Matthew Polenzani is one of the greatest tenors of our time,” Nézet-Séguin wrote in an email. “Matthew was perfect for Don Carlos because it’s a role that fits perfectly with Matthew’s qualities, with endless nuance and subtlety with a wide variety of emotions and expressions.”



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