you’re an old smoothie
Plácido Domingo will sing the role of Maurizio in Cilea’s Adriana Lecouvreur at the Metropolitan Opera for six performances in February 2009, replacing Marcelo Ãlvarez, who, as we heard before, is jumping into the title role in the Met’s new production of Verdi’s Il Trovatore.
As the press release from the Met notes, “With these performances of Adriana Lecouvreur, Domingo returns to the role of his Met debut, forty years ago on September 28, 1968. Since then, Domingo has only sung the role of Maurizio once at the Met, in 1983.”
And, wouldn’t you know it, there’s YouTube documentation of that performance. Not only does Domingo sing “L’anima ho stanca,” he even kvells a bit with Beverly Sills, the Renée Fleming of her day.
Cocky- that’s it. Sorry but I said right at the beginning I was talking about the man’s overall achievements – I don’t believe in trying to “sell” the specifics of a voice because in my view it either speaks to your soul or it doesn’t…so I’m not wasting my time. As you can see some jerk’s already accused me of bullying you (crap).
In short, from the facts I spouted, if you can’t see why some of us think he’s a God now, no offence, but too bad. It doesn’t matter and I couldn’t care less.
I’m outta this one now.
quoth the maven—I KNEW somebody’d catch me on that. After I posted it came to me that while Marton had been the Ortrud, the Elsa was lost to memory. Thanks. I do remember her as being very fine. I seem to remmember her (Tomowa-Simtow) as a wonderful Marschallin, too.
Dear Ruxton, I haven’t accused you of being a bully, or had any beef with you at all. I was up for a dialogue. I just wanted somebody to say ‘listen to the way he phrases such and such a 4 bar stretch in this ensemble from this opera’ and if you don’t believe in doing that, that’s absolutely fine. I’ve had my mind changed about a few people over the years that way – I don’t agree that a voice speaks to one or it doesn’t, because I think there are so many factors involved. One can initially be too focussed on one of those factors, which in my case with Domingo is the fact that his body is so tension-laden leading to a vocality that doesn’t appeal to me. But when an ardent enthusiast helps one see what else is going on, it can change one’s mind.
I’m fine with you staying out of this if you want, but I wanted to explain myself to ensure you don’t think I’m being bitter or confrontational with you.
Charles Craig was indeed a fine Otello.
But the greatest British Otello ever was dear old Frank Mullings. He could tear a passion and ring the rafters!
No all’s fine Cocky – I know you didn’t accuse me of anything and I know you’re not bitter or confrontational. It’s just not my bag to explain what I think is akin to “feelings”. Someone else might give you the information you need better than I- good luck with it.
Vicar- with respect, why don’t you go and shove your head up a dead bear’s bum? Then, have a nice day!
Ruxton may be bowing out, but I’d like to address the quality of Domingo’s singing. It isn’t just that he’s been around so long that you’ve got to give him credit for longevity; it’s that so much of what he has done during these many years is so outstanding. Sure, he never had an easy top, but the velvety timbre, the scrupulous accuracy and above all the liquid phrasing make him a very special tenor indeed. If he has ever barked or approximated a pitch, I haven’t heard it.
For all that, I’m willing to put up with a few truncated high notes. But even the top could be thrilling–when he would nail the b-flat (I think) on “O gioia!” in “Dio mi potevi” (is that an b-flat?), the sense of a hurdle surmounted added to the intensity. It was a great moment.
Perhaps Ruxton is a die-hard fan of the incomparable John Mitchinson?
Well, I am. So why not do the thing with the dead bear he recommends? Bye now.
Vicar, I think many of us would be relieved if you stopped alienating people in general, and 2 of our best mannered and most eloquent posters in particular, Ruxton and Scaramuccio.