Tenor Arthur Espiritu’s Don Carlo Gets Raves in Austria
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Tenor Arthur Espiritu as Don Carlo. (From the FB page of Arthur Espiritu)
At about the same time, Iloilo-born Otoniel Gonzaga was taking Europe by storm after being soloist of the Frankfurt Opera for several seasons.
In the new millennium – in 2007 to be exact – Arthur Espiritu became the first Filipino tenor to invade the venerable Teatro Alla Scala di Milano, singing Ferrando in Mozart’s Cosi fan tutte.
Espiritu became another tenor to watch singing Rodolfo (La Boheme) from Sydney Opera to Theater St. Gallen (Switzerland) and Tamino (Magic Flute) from Germany to Israel.
Last July 8, Espiritu landed the title role of Verdi’s Don Carlo mounted by Oper Klosterneuburg in Vienna.
He was no stranger to this open-air opera venue now being compared to the iconic Arena di Verona in Italy.
For the past several years, tenor Arthur Espiritu has sung Don Pasquale (Ernesto), Traviata (Alfredo), Rigoletto (Duke) with Oper Klosterneuburg in Vienna to generally good notices.
The opening night of Don Carlo last July 8 was different.
It opened to explosive standing ovations, and unanimous critical acclaim from more than five Vienna media outlets including The Kronen Zeitung, Austria’s largest newspaper.
Wrote opera critic Manfred A. Schmid: “The young tenor Arthur Espiritu -- who is still little known in this country -- is actually a discovery as Don Carlo. The singer from the Philippines, who is also adept in acting, sang with a rich voice and radiant height. It reminds one -- as my seat neighbor said -- of Francisco Araiza's beginnings in Vienna. His lyrical tenor voice, tinged with dark undertones, allows for a rather dramatic and captivating portrayal of the role of the Spanish Infante, who is struggling to contain his emotions. Don Carlo in Klosterneuburg is not only a successful opera event, but also -- like all great works – one of lasting topicality. Standing ovations and enthusiastic applause ensued.”
Standing ovation for opening night of Don Carlo last July 8, 2023 (Photo by Roland Ferrigato)
Another review in The Kronen Zeitung noted:
“Arthur Espiritu convinces with a powerful, sensitive performance in the title role. His Don Carlo is characterized by emotions, suffering and hopelessness, to which he submits with little rebellion. His tenor follows effortlessly in all registers and warms with a full, bright timbre.”
Michaela Fleck summed up the ensemble’s total triumph: “Saturday night artistic director Michael Garschall celebrated his 25th opera premiere in Klosterneuburg's Kaiserhof with a dark drama and a brilliant production. it ended in rousing standing ovations.
There, under the crown and cross of Klosterneuburg's imperial monastery, artistic director Michael Garschall ‘fulfilled a dream’ for his 25th anniversary with a really big opera. (It was) classic and clear, but at the same time deeply human and terribly gripping.”
Another Austrian paper, Der Standard wrote: “When Arthur Espiritu sings, heaven opens up. As Infant Don Carlo he transforms multiple mental suffering (the ossified father, the oppressed people of Flanders, the beloved stepmother Elisabetta) into beatific beauty of sound.”
Indeed, it was a big triumph for the ensemble and artistic team.
But more than the cheers and the shower of good reviews, it was a big night for Espiritu, who sang the role for the first time.
Espiritu said, as the rave reviews poured all over Austria after the July 8 opening night, “I had a wonderful time making a grand debut in the role of Don Carlo. I am very thankful to Oper Klosterneuburg led by Michael Garschall and Franz Brenner for trusting me with this role. It was a memorable summer with absolutely amazing people that appreciate this art. It really filled my soul with such joy. I’m truly happy indeed to be able to try this role for the first time and perhaps help develop my voice as time passes. I’m very lucky to be able to perform this amazing role at this stage of my career.”
At this time of year, the tenor enjoys what he calls fantastic weather in the outskirts of Vienna. “It gets hot but the fresh breeze cools you down. During the end of spring and beginning of the summer. I love spending summers here in Vienna. No more health protocols around here. I am staying in the city area where I can walk around and see the sights. To experience the life here, you have to walk around and see all the beautiful historical buildings, art, the people, and of course, the thriving city.”
Espiritu got the part through his European agent. “They have trusted me with important roles before and this place has been one of my favorite places to sing in. My favorite tenors (in Don Carlo) are Luis Lima, Pavarotti, John Vickers, even Angelo Lo Forese. They all have made an example and sort of helped me develop my voice in a very healthy way. I can hear so much heart and dedication to this role in their voices and in their beings.”
He felt he was ready for the part by simply listening to his body. “It’s not about transforming my voice but rather discovering a way to produce the type of execution to the syntax of the role and the understanding of its true nature. We usually go by voice models of the past and the usual voices that have become synonymous with Don Carlo. It’s not true in my case.”
He said it is how much technical acuity you have to match the orchestration of the piece.
“Verdi wrote this opera in a masterful understanding of the human voice. Where to put the instruments and which registrations to put the voices so it will ring over the orchestra. I find that when looking at the score, one must realize what instruments are involved. Verdi often wrote pieces that are fitting of a certain voice type and orchestrates it according to that type of voice. If I were to compare it to Verdi’s Rigoletto, it would be how the composer wrote the instrumentations. In Don Carlo, he uses more brass instruments, trumpets, and louder sounding instruments. But he puts them in certain moments in the drama. In Rigoletto, he uses much lighter instruments and focused more on accompaniment of the singers/characters. In Othello, it’s also a much different type of sound. But in my case, I found my voice to be comfortable with the piece. Don Carlo is surprisingly in a much higher register than Verdi’s Un Ballo in Maschera which I have earlier sung.”
The artistic team in Don Carlo includes Michael Garschall (artistic director) and Christoph Campestrini (musical director and conductor).
The man behind the new production — Günther Groissböck – wore two hats as director and singing the role of Philipp II. Groissböck last sang this role at the New York Met to great acclaim.
The rest of the cast: Margarita Gritskova as Princess Eboli, Thomas Weinhappel is Marquis von Posa. Karina Flores is Elisabeth to the Imperial Court and Matheus Franca as the Grand Inquisitor.
Curtain call for Don Carlo in Vienna (Photo by Roland Ferrigato)
Espiritu is all high praises for the stage director and singer Grossböck. “It is interesting and very much different to have a singer as a stage director. He understands the psyche of a singer and I was very happy I worked with him. What is truly unique about this place is that it has unparalleled natural acoustics. It is such a great place to sing in. This monastery built in 1114 has this open courtyard (Klosterhof) where the operas are staged.”
Espiritu has an Artist Diploma from Oberlin College Conservatory of Music under the Studio of the late Vocal Pedagog Richard Miller. He earned Bachelor of Arts and Master of Music degrees from the University of New Orleans under the studio of Dr. Raquel Cortina.
Now a father of three (Aaron, Malaya and Liham) the tenor is hard put to leave Manila after the recent birth of his youngest baby boy.
“It has become increasingly difficult to leave my family to fulfill my European engagements. It is emotionally challenging to try and explain why I have to leave all the time. This is one of the most unfortunate trade-offs with becoming a freelance opera singer today. I’m very lucky to have an amazing partner in Christina. She understands what I do and supports me wholeheartedly, even though I know that this is hard for her. I keep hoping that I will have longevity in my career in the future to be able to help my family the best way I could,” the tenor shares the trade-offs of a flourishing international career.
Tenor Arthur Espiritu with wife Christina and newly born baby, Liham
For now, Espiritu is looking forward to recording with the Austrian National Television (ORF).
After ten performances of Don Carlo in Vienna, the tenor will be kept busy with another round of engagements as Edgardo (Lucia di Lammermoor) in Leipzig, Germany; Rodolfo (La Boheme) in Poland and Koln, Germany and Faust in Lithuania and Lubeck (Germany).
Pablo A. Tariman contributes to the Philippine Daily Inquirer, Philippine Star, Vera Files and The Diarist.Ph. He is author of a first book of poetry, Love, Life and Loss – Poems During the Pandemic. He was one of 160 Asian poets who made it in the anthology, The Best Asian Poetry 2021-22 published in Singapore. Born in Baras, Catanduanes, he has three daughters and six grandchildren.
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