Italian tenor ANDREA CARÈ studied at the Giuseppe Verdi Conservatory in Turin . Opera engagements include the title role in Don Carlo for the Bolshoi Theater, Gustavo (Un ballo in maschera), Don José (Carmen), Loris Ipanov (Fedora), Števa (Jenufa), Radames (Aida), Rodolfo (La Bohème) and Stiffelio for Royal Swedish Opera, Pinkerton (Madama Butterfly) for MET Opera, Wiener Staatsoper, Canadian Opera Company, Savonlinna Opera Festival, Teatro dell’Opera in Rome and Teatro Regio in Turin, Cavaradossi (Tosca) for Teatro Regio in Parma, Théâtre de la Monnaie de Munt, Stuttgart Opera, Opéra National du Rhin, Finnish National Opera, Teatre del Liceu and many others. But mostly he performed his signature role Don José (from Carmen) all over the world. Among other roles he sang many times Alfredo (La Traviata), Macduff (Macbeth), Enzo Grimaldo (La Gioconda), Giasone (Medea), Pollione (Norma), Loris Ipanov (Fedora), Sigurd (Sigurd), Ctirad (Šárka), Osaka (Iris). Carè has worked with such conductors as Bruno Bartoletti, Riccardo Chailly, Gianandrea Noseda, Paolo Arrivabeni, Tugan Sokiev, Nicola Luisotti, Jadier Bignamini, Pinchas Steinberg, Patrick Fourniller, Piergiorgio Morandi, Evelino Pidò, Massimo Zanetti, Roberto Abbado, Daniele Callegari, Valerio Galli, Gianpaolo Bisanti, Massimo Zanetti and many others. He was directed, between others, from Luca Ronconi, Christof Loy, Robert Carsen, Damiano Michieletto, Davide Livermore, Calixto Bieito and Barrie Kosky.
Hello, Andrea! Thank you for accepting our invitation. It’s a pleasure to chat with you. What was this year and a half for you, professionally, but also psychologically?
The pleasure is all mine. It has been a tough year. Even if I try to stay positive, I wonder how long it will still take to go back to our normal lives. It still feels like a nightmare sometimes. I can’t believe how much our lives have been changed by this invisible and dangerous virus. I feel lucky because, even though my life has changed a lot in these months, I managed to keep singing and working even when opera houses were closed. At first, being used to traveling a lot and never being home, close to your own family, it felt nice to have this chance of spending time at home for a while. But then days, weeks and months passed by, and we all started to realize that this was a much bigger issue that would change our society and the psyche of people. As an artist, I’m concerned about the world of music and the challenges it’s facing and will face shortly.
Recently, you performed Mario Cavaradossi at Finnish National Opera in Helsinki. What can you tell us about this production? How did you feel coming back in front of the actual public, in the theatre?
It was fantastic to be finally back in front of a full audience. This was a Christof Loy’s production I did in 2018. Back then we had ten performances and now we had eleven. At first, in September we started with half capacity (600 hundred people) but from the beginning of October, Finnish politicians decided to open with full capacity and I can’t hide the fact that tears ran down my cheeks when I heard the audience breathe with me during my singing and applaud loudly after my arias. It was pure magic, I had goosebumps and I realized how much I missed the energy from the audience. I feel very lucky that I had this opportunity because this Tosca is one of my favorite productions of all time.
Read the entire interview here, in the 7th/2021 issue of OPERA Charm Magazine.0