“I can honestly say I wouldn’t mind singing it somewhere else, if it weren’t for this limelight,” Polezani said, adding: “However, I was against categorizing myself in one category. , because the breadth of my career is very broad in terms of the repertoire I have sung. You can have a valid argument for any piece you want to sing, if it’s in your soul.”
And he commended his colleagues, including the Met’s music director, Yannick Nézet-Séguin, who is conducting, as well as the orchestra and choir; an ensemble cast that includes Sonya Yoncheva, Étienne Dupuis, Jamie Barton and Eric Owens; and executive producer, David McVicar, who will also perform “Medea” next season.
At its 1867 premiere in Paris, the five-act “Don Carlos,” adapted from a play by Schiller, was deemed too long. Verdi reluctantly agreed and oversaw several revisions, as well as the Italian translation as “Don Carlo.” For decades, during the most extensive intervention, the first act of the work was often cut, and the remaining four acts were often performed in Italian.
In 2010 at the Met, Nézet-Séguin led the five-act version (in Italian). Since then, he has wanted to introduce the French “Don Carlos” at home. As plans for this new stage took shape, Nézet-Séguin thought of Polenzani for the lead role, although he never sang it in either language.
“Matthew Polezani is one of the greatest maestros of our time,” Nézet-Séguin wrote in an email. “Matthew is perfect for Don Carlos because it’s a role of infinite nuance and subtlety that, with such a wide range of emotions and expressions, will come true to Matthew’s qualities.”
https://www.nytimes.com/2022/02/24/arts/music/met-opera-don-carlos-matthew-polenzani.html This is the highest profile challenge in a high paying student’s career