BBC Music Magazine, September 2013
(Auszug aus einem Artikel über Verdi-Rollen)
Viva Verdi!
From warmly endearing to cold, calculating and bloodthirsty, Verdi's depiction of human character is unmatched in opera. We talk to leading singers about the joys and challenges of playing his greatest roles

TENOR on Don Carlos, eponymous revolutionary hero

At first sight, this part doesn't seem very rewarding. Unlike most Verdi tenor roles, Carlos hasn't got a big aria, whereas all the other roles in the opera have got a great solo scene. But for me, it's one of the most attractive roles in the repertoire, because there are so many facets and colours — and I love all those great duets.

Vocally, the biggest challenge is the dynamic range: from the finest pianissimo phrases to utmost dramatic intensity. Especially challenging is the "Lacrymosa" scene after Posas's death, which is normally cut and which is really a very challenging scene, almost a forerunner of Otello. Carlos is a very demanding part because there are so many aspects in him which you have to bring out convincingly — his suffering, his love for Elisabeth, the conflict with his father, his friendship to Posa, his lack of self confidence. I see him as a victim. A victim in the battle of humanity against the power of state and church. Of course there are many different approaches to this role, but for me one thing is sure: Carlos should be a person with whom the audience can empathise.

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