"The main goal in my life is to make extraordinary things out of the ordinary."

Those were the words of Italian tenor Vittorio Grigolo during a recent interview with Latinos Post ahead of his appearance as Rodolfo in "La Boheme" at the Met.

Grigolo's rise to opera stardom is truly exemplary of that mantra. He was born in Arezzo, a city in Central Italy in the province of Tuscany. However, he was raised in Rome and his career got off to an auspicious start when he became a member of the Sistine Chapel choir as a child. He eventually made his opera debut at the age of 13 as the Shepard in "Tosca," an evening made all the more memorable by the fact that the Cavaradossi in that performance was none other than Luciano Pavarotti. For a while thereafter, Grigolo was given the nickname of "Il Pavarottino," but he slowly stepped out of the shadow of the operatic giant by becoming extraordinary in his own right. At age 23, he became the youngest tenor to make his debut at the historic La Scala in Milan. Grigolo made his Metropolitan Opera debut in 2010 in Puccini's "La Boheme" and his meteoric rise enabled him to be the latest in a short list of singers to perform a recital at the legendary opera house.

And even in his recital, a rarity at the Met, Grigolo managed to take the rather intimate and relaxed atmosphere and transform it into a fiery experience for the viewer. The recital took place on March 9 and was met with tremendous favor from the audience and press. Latinos Post noted that the recital was not only memorable for Grigolo's phenomenal vocal depth, but for his physical interaction with the audience, a rarity in this kind of musical medium.

Another unique facet of the recital was the program itself, which featured a mix of opera and more popular Italian songs. Grigolo noted during the interview that he was lucky to have the opportunity to sing such a varied repertoire for his recital; something that was not afforded to such past greats as Enrico Caruso.

"I think the repertoire made the concert very rich. It was not just opera or popular songs. It had a little bit of everything. It was something that Caruso wanted but never had the opportunity to do," he stated. "Caruso wanted to sing Neapolitan songs, but in his time that would have been the same as me trying to sing a song by Rihanna on my recital. It was not allowed."

The tenor noted that his selection of repertoire was done in collaboration with pianist Vincenzo Scalera with the aim of exploring music that was fresh and new to him.

"I had to discover something interesting and that I had never sung," he remarked. "The repertoire was decided in Milan with Vincenzo; I wanted to take people on an intimate journey. When I sing, I always relive a part of my life. I never sing something unless I have not lived it. I can't do a role or character unless I have lived that character. For me, the best teacher is life."

Even though the program was dominated by the Italian language, there were two selections by Tosti that were in French; Grigolo noted that performing these two particular songs was a revelation.

"I never thought that I would connect the way I did with Tosti, especially the French pieces," he explained. "I know that the French repertoire is important for me and the French language helps me a lot. Some people said that I should have started with the French Tosti because I am more expressive in it."

Grigolo explained that he wanted to start the concert with chamber pieces and some operatic repertoire because of the venue. He started with four songs by Bellini, a tarantella by Rossini and two arias by Donizetti and Verdi.

"At the Met Opera there are over 4000 people and I always think about the kid that paid for his ticket and sits at the top of the theater. I always think about the people," he said. "I wanted to put some opera in the repertoire, but pieces that are rarely heard. For me, the 'Duca de Alba' [by Donizetti] has a lot of colors. I like the orchestral opening with the horns. It is important to be able to paint with the voice and color it with my experiences."

His second operatic selection came from Verdi's rare work "Il Corsaro," an opera that Grigolo has championed throughout his career.

"The Corsaro, another opera that is rarely sung, but one that I have sung many times and love. I think that I created a solid effect," he stated.

Grigolo knows that the attention was on him throughout the recital, but he also made it clear that it was not only about him. Throughout the concert he made sure that his pianist Vincenzo Scalera was given appropriate applause and during the interview, he made a point to highlight his musical partner.

"He has always been my pianist. Whenever I see him, for however limited time, I know that I can do what ever I want," he noted about his musical partnership with Scalera. "For me there are moments in the concert which do not feel like a concert; it feels like playtime with him.

"He has an incredible musical sensitivity and whenever I want to breathe or do a rubato, I know that he will be there for me," he stated.

The 37-year-old tenor remarked that New York was one of his favorite places to perform because of the audience's tremendous energy and expression.

"I find the energy in the street. It's that energy of movement," he said about New York. "That vibe of renovation. It's a motor that never stops.

"I love how the audience is not afraid to express their feelings," he elaborated. "In other cities like Milan where the culture is a bit more elitist; they have more reservations. They create a wall, but not with me of course. In Germany, I sang a concert where the audience was very serious, very cold. But when I finished they exploded with enthusiasm.

"But it is important to feel that energy at the start of the concert. The people want to smile and enjoy themselves. What I like about New York is that the audience members are not critics."

Even though the receptions of most audiences are positive and "explosive," Grigolo noted that he understood the difficulties of stardom and the polarizing effect they could have on some audience members.

"Not everyone can love you. It's not a war to make everyone love me," he stated while noting that he respects everyone's opinions. However he did note that he does not take well to people stating that he is not giving his all. "I do not appreciate it when people say that I didn't give my all. Because when I sing, I leave everything for the audience. I hope that it was clear at the recital. My strength is when I put my entire being and energy into the performance."

Part of expressing that energy was the constant interaction with the audience and his movement about the stage. The expectations for recitals are that singers remain fixed on stage and become an emotional focal point for the viewer and listener. However Grigolo felt it necessary to move about and engage the viewer.

"Some people interpret that as invasive," he stated about moving around the stage. "They think I'm like a child that cannot sing still. I can sing standing still. I did it for a few pieces in the recital."

However he feels that simply standing around for the entire concert is not the way of the modern opera world.

"I always want people to talk about my body language," he stated before drawing a parallel with popular music. "For me it is like seeing Justin Timberlake. That is a different kind of elegance. I can't have naked women on stage but I can still find different ways of interacting with the public.

"I am artist, but I am also an entertainer. Melodrama means reciting while singing, not singing while reciting. What I do is recite and act. Throughout my entire life I have always acted. I do not know when I am not acting," he stated before pausing to think of an answer. "Maybe the only time I am not acting is when I am sleeping."

New York operagoers will get to see Grigolo's vocal and acting abilities on full display in "La Boheme" this season. The Puccini favorite opened on Wednesday March 19 and runs through April 18.

"La Boheme" is easily one of the most popular works in the operatic cannon, but it is essential to point out that its timelessness is a result of taking ordinary people and characters and making them extraordinary. And this is one of the reasons that Grigolo places it among his favorite operas.

"'La Boheme' is perfect. Every single note matters," he stated. "It is easily one of the greatest operas ever written."

Grigolo has noted that singing the work at the Met is even more special because the historic Franco Zeffirelli production only heightens and highlights the greatness of the work. For those unfamiliar with the production, Zeffirelli imposes no major intellectual concept on Puccini's masterwork. His production is filled with traditional sets that, despite their seeming simplicity, are grandiose and filled with tremendous nuance and detail.

"The production might be a bit old but it is marvelous and simple," said Grigolo about the Zeffirelli production. "People expect more complicated productions now adays but the simplicity of Zeffirelli's only emphasizes the perfection of 'La Boheme.'

"What makes this production special is the name 'Zeffirelli.' He is one of the greatest directors ever," Grigolo continued. "Zeffirelli is a genius. He is a man with a strong character and a charisma that gives the artist a special energy. It's a shame that he is not here because I would have loved to see him."

One of the highlights of this run include a broadcast for the Live in HD series on Saturday April 5, 2014. It will be Grigolo's first HD performance for the Met Opera; he is already slated for a second next year in Offenbach's "Les Contes d'Hoffman."

Grigolo does have experience being on camera as he played the role of the Duca de Mantua in the film version of "Rigoletto" starring Placido Domingo. The Italian tenor noted that working on that project was a revelatory experience and that he learned a great deal of legendary cinematographer Vittorio Storaro.

"When I did the Rigoletto movie, cinematographer Vittorio Storaro told me that all my movements had to be smaller, more controlled," said Grigolo about what he learned from the famed Director of Photography. "Whenever you are in the theater you use a mask to reach every audience. But on the day of the HD performance, I will alter the movements and gestures to be a bit more natural."

Grigolo will sing "Boheme" in July at the Royal Opera House in London, but aside from that performance the remainder of his year will be dedicated to French opera. When asked what composers he prefers singing Grigolo was adamant in stating, "I have to say that I am very passionate for all the French composers especially Massenet."

Massenet will in fact be the next composer that Grigolo takes on. He is scheduled to perform a concert version of "Werther" with Donald Runnicles at the Deutsche Oper. Grigolo revealed that he would also be performing the role in London next season with conductor Antonio Pappano in a new production.

He stated that he loves the music, but is not particularly fond of the work's ending. He also noted that he does not completely understand the character's deep obsession with the work's female lead Charlotte.

"I would like to live in Werther's time [in order to understand his passion]," said Grigolo. "Because in modern times we always need to live three lives at the same time. We don't appreciate what he have today. We want something new tomorrow. We are always looking for a new love.

"With Werther that does not exist. It is love dominated by an ideal. How many can love just an ideal?" he stated. "Maybe that's my destructive nature. I fall in love with the idea of falling in love. How many times do people look at other people in the streets and fall in love with the idea of falling in love with that other person? But I don't kill myself."

He is also slated to take on the role of Romeo in Gounod's "Romeo et Juliette" in Verona during the summer. Additionally, Grigolo revealed that his next album, "The Romantic Hero," is dedicated to the French repertoire. It will include selections from Massenet's "Werther," "Manon" and "Le Cid;" arias from Gounod's "Romeo et Juliette" and "Faust will also be featured prominently among other selections by Halevy and Meyerbeer.

"In my next album, I look at what the destructive poet does. His spirituality. His suffering, his immortality. I love to suffer for love. I love existentialism."

In 2014-15, he will return to the Met to sing two more French works. In January he will take on the title role in "Les Contes d'Hoffman" and later in the season he will join forces with Diana Damrau in Massenet's "Manon." Grigolo is not familiar with the Met production of "Hoffman" directed by Bartlett Sher but he did have a huge success in London with the current Met production of "Manon."

"I had a tremendous success in London when I sang with Anna [Netrebko]. I hope it is a similar experience when I sing it here," he stated.

He also noted that both characters fascinated him for different reasons.

"Hoffman is very introspective. He idealizes women. He is a poet but he is a modern poet. A Picasso. The work is full of symbolism; every woman is a symbol of the love he has yet to live and dreams of experiences," he stated before noting the contrast with Des Grieux in Manon. "In Manon, [Des Grieux] is more of a spiritual hero, but he is full of intensity and passion."

So what is next for the star tenor?

Grigolo noted that in 10 years he hopes to be able to sing Don Jose in Bizet's "Carmen," but revealed that when that happens his repertoire will be completely different from what it is now.

"I will likely be singing [Verdi's] 'Don Carlo,' 'La Forza del Destino' and 'Un Ballo in Maschera,'" he stated. However he did point out that he was more concerned with his current repertoire than looking too far ahead. "For the moment I am happy rediscovering my current repertoire. I look at the music and make sure that it remains fresh. When there is no longer anything new for me, then I move on and start something new."

Are there any other dream roles on the horizon?

"My dream role doesn't exist ... My dream role is the one I am doing at the moment," he added. "But of course I keep a secret close to my heart. I will probably never perform this role but I love 'Andrea Chenier.'"

Grigolo also hinted at his next album after "The Romantic Hero" and noted that he loves going to the recording studio.

"In the studio you have to fall in love with the microphone. In the studio, you can try out different sounds and colors that you cannot use in the concert hall," he explained. "When you record with a microphone, it opens up a new rich world filled with magic.

He also expressed tremendous gratitude for being one of the few opera singers that have a record label.

"It is a miracle that I can record CDs considering the fact that CD sales are so low now," he stated before noting that recording CDs is not just a marketing venture for him but a new means of storytelling. I like to tell a story with each album. My previous album 'Ave Maria,' which was released during Christmas time, was an important story. It was not simply a commercial product for Christmas time. I used my voice to tell my childhood story and an important time period of my life. It was the consecration of my talent."

Regarding the following album he would like to record Grigolo revealed that he wanted to make a sequel to "The Romantic Hero," but with an Italian twist.

"I would like to do another Romantic Hero in French but with Italian composers. Operas commissioned for the Opera de Paris like Rossini, Donizetti, Verdi. Such as Don Carlo for example. But the whole thing in French."

Grigolo also revealed another important project that has nothing to do with singing or acting.

"Since I was a child I have loved racecars. I did Formula 2 and Formula 3000. I have always raced cars," he stated. "One of my dreams, which I know I will eventually realize, is the Indy 500."

When does he plan to realize the dream of racing the famed circuit?

"In about five or six years. I'll subtract an opera and add a sponsor," he said with a laugh.

Despite his endless ability to make the extraordinary out of the ordinary, Grigolo emphasized that his task is not an easy one.

"The most difficult thing has been getting ahead in this career and accepting its difficulty. There is no job more difficult and I never imagined it would be this difficult," he explained. "When I was young, my instructor, the bass Danilo Rigosa, told me that I would not have a normal youth. He said that I would not live experiences that others would have. He asked me if I was ready. At the beginning I was enthusiastic and did not think it would be a big deal.

"But then at the age of 25 I realized how hard it was," he explained. "[The most difficult thing] is being consistent. ... Being on top form, it's not so difficult. The difficulty is being able to deliver the best possible performance every time."

"It's a vocation. If I am going to do this career, I have to do it with all my heart."

There is no doubt that he does.