I have to say it straight away: I was genuinely happy that evening.
Not only because I was about to hear Ernani — an opera that is sadly not staged very often — but also because it was my very first time inside the Teatro Filarmonico di Verona.
And that’s kind of crazy when you think about it. I’ve been coming to Verona for the summer festival for about 15 years now, but somehow, I had never set foot in the Filarmonico before. So yes, first time in the theatre, first time Hernani live in Verona… good vibes from the start.
This performance was also part of a little challenge I set for myself: a 100% Italian opera weekend.
Friday night: Ernani in Verona.
Saturday: Il Barbiere di Siviglia in Bologna.
Sunday: my favourite theatre in the world — not the most beautiful, but definitely the warmest, the most authentic, the one with the most soul — Teatro Municipale di Piacenza, for Stiffelio (another Verdi gem) with Gregory Kunde. Honestly? I was already smiling before the first note of Ernani.
But let’s get back to Verona.
Ernani belongs to that fascinating Verdi period — around Luisa Miller, Rigoletto, La Traviata. It’s an opera I know extremely well, almost by heart. And yet, hearing it live, fully focused on the stage, is always a bit of a revelation.
You can clearly hear how some musical ideas are already pointing toward Rigoletto. Certain passages, certain dramatic tensions… it’s really fun to catch those similarities and contrasts in real time.
Now, about the staging.
This production was signed by Stefano Poda, a well-known name in Italy, especially in Verona. And let me be very clear: I didn’t drive six hours from Lausanne to Verona for Stefano Poda. Not at all.
I came for Amartuvshin Enkhbat.
For me, he is easily one of the top three baritones today, alongside Ludovic Tézier. The Mongolian baritone is simply unstoppable. No big social media show, no unnecessary noise — he just does his job. And he does it incredibly well.
His Don Carlo was everything you want: powerful, noble, dark when needed, deeply Verdi. This role suits him perfectly, with its magnificent arias and its dramatic weight. Honestly, there’s not much more to say — just go hear this man.
Whether it’s Ernani, Rigoletto, Giorgio Germont in La Traviata, or any other Verdi role, he is the Verdi baritone par excellence. Period.
I was also very happy to hear Antonio Poli, a tenor I really like and who I find quite underrated. He has a beautiful vocal line, sings with elegance, acts convincingly, and can be genuinely threatening when the role demands it. His love duets with Elvira were lovely.
Unfortunately, the staging didn’t really put him in the spotlight — which is a shame — but vocally, he was absolutely convincing. I sincerely hope to see him more often in major theatres in the future, especially in Verdi roles.
A few words as well about Olga Maslova as Elvira. Vocally, she delivered a solid performance, with some very beautiful high notes. I was a bit less convinced by the acting, but once again, the staging didn’t help her much. That’s unfortunate, because Elvira has truly splendid music, and she deserves to be more highlighted on stage.
I also want to mention Gabriel Sagona, Elisabetta Zizzo and Saverio Fiore, who handled their smaller roles very well and contributed to a strong overall cast.
There was, however, a bit of an awkward moment: one of the secondary singers had serious vocal issues. During the intermission, we were informed that he would continue in the second part but would speak instead of sing, as he had almost completely lost his voice.
I felt quite sorry for him — you could tell he was exhausted. Still, I can’t help thinking that it would have been better to replace him for those few lines (there really aren’t many). Making him go back on stage in that condition felt unnecessary.
That said, it was still a very beautiful evening.
Verdi’s music never disappoints. With a baritone like Enkhbat, disappointment is simply not an option. The warm and welcoming atmosphere of the Teatro Filarmonico also played a big role. A Friday night, just before Christmas, in a small Italian city, gloomy weather outside, Verdi inside — honestly, what more do you want?
I’m pretty sure I’ll be back next season. I already spotted La Bohème in October 2026… so yes, I’ll return.
More than ever: Viva Verdi.
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CAST
Ernani
Antonio Poli
Don Carlo
Silva
Elvira
Giovanna
Don Riccardo
Jago
