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. Last July 8 opening night of Verdi’s Don Carlo was different.
It opened to cheering standing ovations and unanimous critical acclaim from more than five Vienna media outlets including The Kronen Zeitung, Austria’s largest newspaper.
Opera critic Manfred A. Schmid wrote, “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.”
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.”
She further enthused: “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. His second opera direction in Hans Kudlich ‘s monumental scenery with the admonishing Pietá at the “altar” and the royal coffin at the edge of the stage came along, supplemented by Andrea Hölzl ‘s royal costumes in silk, velvet and lace collars and Lukas Siman ‘s impressive light.”
The critic added Christoph Campestrini steered Baden’s Beethoven Philharmonic with grand gestures, dark basses, threatening brass and moving cello (solo). Günther Groissböck as Philip II (Spain’s king) fought on stage (proud and strict and vocally so outstanding) that – as always in Klosterneuburg without a microphone – he could also fill the neighboring town hall square.”
Indeed, it was a big triumph for the ensemble and artistic team.
But more than the cheers for the iconic open-air venue, it was a big night for Filipino tenor Arthur Espiritu who sang the role for the first time.
As the rave reviews poured all over Austria after the July 8 opening night, Espiritu said, “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.”
Before another triumph in Vienna, Espiritu received double standing ovations in his outreach concerts in Manila, Iloilo City and Science City of Munoz in Nueva Ecija.
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).
Klosterneuburg is the center of Austria’s summer cultural landscape famous for its open-air ambience of the baroque imperial court of Klosterneuburg Abbey founded in 1114.
The Kaiserhof open air venue good for 846 opera enthusiasts does not require amplification. It is now considered home to the second largest open-air opera festival visited by some 11,0000 spectators every year.