(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 young age he began studying singing with Marcello Ferraresi, then perfecting his technique with Piero Giuliacci.

Winner 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.

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.

OperaWire:
Hello Vincenzo, and thank you for speaking to OperaWire. I know you’re busy preparing for your upcoming “Madama Butterfly” in Florence. This role has quickly become a signature for you, as you’ve 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?

Vincenzo Costanzo:
Hello, 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—a 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’s music—it constantly offers new depths and possibilities for expression.

OW:
Undoubtedly one of Puccini’s 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?

VC:
Yes, I recognize that Pinkerton has become a topic of discussion in an evolving social and cultural context. It’s 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’s a challenge, but I believe it’s 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’s work, following his directions and intentions. This respect is owed to the incredible Art we are fortunate enough to interpret.

OW:
For 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?

VC:
Absolutely. It’s 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’s 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.

OW:
Your career has a strong focus on Puccini’s work. Was that an intentional choice, or did it just develop naturally over time?

VC:
It was mostly a natural path. I’ve always felt a deep affinity for Puccini’s 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’t excluded other repertoires, but I’m grateful for the many experiences I’ve 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’m certain I’ll continue exploring it in the future.

OW:
There 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?

VC:
Italy 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’m happy for my talented colleagues worldwide, I don’t 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.

OW:
Who were your greatest influences from the past, and whose voice has impacted you the most?

VC:
One of my greatest inspirations has undoubtedly been Enrico Caruso. His vocal power and emotional expression are a constant source of inspiration. I’ve 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—great interpreters who are references for my own style and phrasing.

OW:
You’ve mentioned before that you’re learning some of the French repertoire, and I know you’re debuting “Carmen” later this year. What other roles are coming up?

VC:
Yes, I’m 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’ll have some major returns to my schedule, including “Tosca” at the Teatro dell’Opera di Roma—a city I hold close to my heart. Then I’ll return to the Teatro San Carlo in Naples, my hometown, for “Un Ballo in Maschera,” where I’ll have the chance to work with another incredible conductor, Pinchas Steinberg.

OW:
Are there any roles you aspire to perform in the future but feel you’re not quite ready for yet?

VC:
I’m still young, but I have almost 15 years of experience behind me. In that time, I’ve learned the importance of living in the “hic et nunc,” the “here and now”—a 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’m confident that they’ll come. I’ve learned that it’s essential to follow a clear path: study, commit, and above all, “speak little and sing a lot” (he laughs).

OW:
What do you enjoy doing when you’re not performing your art?

VC:
When I’m 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.