To be perfectly honest, as I write these words from the train back to Lausanne the morning after, I find myself asking a bold and perhaps blasphemous question: Have Les Vêpres Siciliennes just overtaken Don Carlo in my personal Verdi ranking?
Yes, I’m starting this review with a scoop!
It’s not that the performance of Don Carlo wasn’t superb—quite the opposite. The theatre was nearly sold out (unsurprisingly so), buzzing with anticipation since Deutsche Oper Berlin announced this cast over a year ago: Alex Esposito, Jonathan Tetelman, and Federica Lombardi. All under the roof of one of Germany’s most prominent opera houses, known for staging powerful and often daring productions since its founding in 1912.
Let’s begin, as we should, by honoring the women of the evening. Federica Lombardi delivered a performance that will remain etched in my mind for a long time. Known for her stellar Donna Anna in Don Giovanni, Lombardi is clearly pivoting toward Verdi with the elegance and intensity of a true diva. She’s soon to take on Luisa Miller alongside Freddie De Tommaso—a pairing that already promises greatness. But last night, in her role as Elisabetta, she was transcendent. Her Act V aria drew a thunderous ovation that went on for minutes, and rightly so. Her voice—rich, luminous, and perfectly placed—evoked echoes of Mirella Freni. For a moment, I closed my eyes and felt transported to a golden age.
Her Don Carlo was Jonathan Tetelman, and what a Don Carlo he was. Tetelman has fully arrived. I remember hearing him perform a duet from Don Carlo in Gstaad just two years ago, and now—here he is, commanding a full production with power, poise, and heartbreaking sincerity. Despite a staging that gave his character surprisingly little focus (a curious choice for an opera named Don Carlo…), Tetelman cut through the production with his presence and his voice, proving yet again why he is quickly becoming one of the most exciting tenors of his generation.
And then there was Alex Esposito. What can I say that hasn’t already been said? After hearing him earlier this year in Lucrezia Borgia in Rome, I knew he was a master of character. But last night he surpassed even those expectations. His portrayal of Filippo was layered and nuanced, capturing both the cruelty and the tragic humanity of the king. His bass boomed through the house, but never at the expense of emotional depth. You need both voice and vulnerability for this role—and Esposito has both in spades.
One of the evening’s most pleasant surprises was Gihoon Kim. A name I was only vaguely familiar with before, he completely stole the spotlight at times. His Act III death duet was one of the night’s high points, deeply moving and masterfully sung. With visible support from the audience, it’s clear he already has a following—and now, I count myself among them.
Another standout discovery: Irene Roberts. I’d never seen her live before, but now I’ll be seeking her out. Her performance as Eboli was simply phenomenal. From her stage chemistry with Lombardi and the ensemble to her unforgettable “O don fatale,” she exuded vocal fire and artistic maturity. One of the best renditions I’ve heard, full stop.
If you’ve been reading my recent reviews, you might be thinking I love everything I see. But I truly believe we are witnessing a new golden generation of opera singers—artists who aren’t just masters of their craft but who genuinely love what they do. You feel it in every note, every phrase, every breath. These singers are building a future for opera that is not just promising—it’s thrilling.
To those who say “opera was better before,” I say: you’re not paying attention. The present is glorious. And the future? Brighter than ever.
Viva Verdi.
CAST
Philipp II.
Alex Esposito
Don Carlo
Jonathan Tetelman
Rodrigo, Marquis von Posa
Gihoon Kim
Graf von Lerma / Herold
Kangyoon Shine Lee
Der Großinquisitor
Patrick Guetti
Ein Mönch
Gerard Farreras
Elisabeth von Valois
Federica Lombardi
Prinzessin Eboli
Irene Roberts
Tebaldo
Maria Vasilevskaya
Stimme von oben
Lilit Davtyan
