Vincenzo Costanzo plays an impetuous Roberto with youthful audacity; in the evergreen of the opera “Torna ai felici dì” he manages to gift us some touching moments.
The main character role of Ernani sees the debut of young Vincenzo Costanzo, perfectly at ease in the role of the romantic hero dogged by fate. The dark colours, his round and soft voice, and the ringing and well projected high notes are combined with an interpretative choice that accounts for both the indignation of the nobleman and the passion of the lover. Scenically Costanzo is very effective, with movements that are also very demanding (as when he engages in a Greco-Roman fight with Don Carlo, while the choir sings “Si ridesti il leon di Castiglia”)
Vincenzo Costanzo, who has played Pinkerton almost 300 times in his ten-year career, offers the American officer all the defiant boldness of his youth and does so by exhibiting commendable musical accuracy. His voice is beautiful, dark and round, homogeneous in every register, with ringing and full treble. The natural communicative timbre is combined with an undeniable scenic ease, thus having the effect of a “nice rascal” Pinkerton in the first act (very good in the duet, where he combines great vigour with passionate impetus) but sincerely repentant – and also matured – in the third.
It fell to the tenor Vincenzo Costanzo to break the ice by tackling “Forse la soglia attinse” from Un ballo in maschera by G. Verdi. A decidedly appropriate voice to commemorate Flaviano Labò that of the Campanian tenor whose fascinating dark timbre blends perfectly with the gloomy nuances of the dramatic moment Riccardo is experiencing. Costanzo continued, alternating on soprano, with three other famous arias: “Recondita armonia”, “Ah la paterna mano”, “L’anima ho stanca”; all three taken from operas in which the tenor has already made his debut in the leading roles. We were present at his debut in the role of Cavaradossi last summer in Torre del Lago, we saw Macduff in Palermo in 2017 while he had just left the role of Maurizio di Sassonia twenty-four hours earlier, after the last performance by Adriana Lecouvreur in Germany. The overall impression is that the interpreter is now mature: this can be seen in his attention to words, his careful phrasing, the legato, the colour palette and the intensity of the nuances flaunted but never an end in themselves. The result was intense readings, full of pathos where the spectacle had the right space by virtue of infinite winds, vigorous accents, robust and ringing high notes. The concert ended with an encore in which Vincenzo Costanzo moved with a very heartfelt performance of “Core ‘ngrato”.
Vincenzo Costanzo sings for the first time in this theatre and succeeds with an impressive Maurizio. Tirelessly, he forcefully threw himself into an extremely difficult role and in the second act he moved me to tears with his soulful singing.
Vincenzo Costanzo fully embodied a passionate Mario Cavaradossi, painter, patriot and passionate lover. On this last evening dedicated to Tosca, after much deserved applause on the open stage, he was asked for and granted by the conductor Veronesi, an encore for the famous romance “E lucean le stelle”: tied to heavy chains, after the introspective remembering with nostalgia the moments of his love with Tosca, he bursts out in a cry: “L’ora è fuggita… e muoio disperato! E non ho amato mai tanto la vita…” which makes the audience tremble and transforms that emotion into an ovation in both performances.
Like Riccardo, the young Italian tenor Vincenzo Costanzo was a revelation with his ringing voice and glorious high notes. Born in 1991 and just beginning his vocal career, Costanzo is clearly a man to watch, and this was an outstanding performance.
Vincenzo Costanzo, a very young and talented Neapolitan tenor who from a young promise became an increasingly splendid reality, greatly convinced the audience during the famous aria of the fourth act, “Ah la paterna mano”, not only sung with a beautiful voice excellently projected, but also faced with the right attitude and fundamental safety. The ovation bestowed on him by the audience was well deserved. Costanzo was a credible Macduff also from an actor’s point of view and his voice was suitably ringing in the duet with Malcolm.
In his American debut tenor Vincenzo Costanzo with typically Italian vocal confidence and soft phrasing has provided an attractive Pinkerton. Together with Haroutounian Costanzo conducted the final duet of the first act “Viene la sera” with enveloping warmth. His final aria “Addio fiorito asil” made the character’s remorse believable.