parterre box

56 comments

• Placid Sunday says:

  Dante, really now. Do you think yourself worthy of judging others. Open your eyes.

  on March 15, 2009 at 8:57 AM
• ariel says:

  Quit bitching among yourselves ,how Placido must relish this!!
  He is all about money, that’s all , he is clever and more clever.
  And the stupids remain stupid. He will mine this opera field
  until he has to crawl out on all fours to croak his last note .
  He is a marvel at this game of “but after you “, just remember
  the 3 tenors ,it tells everything.

  on March 15, 2009 at 10:07 AM
• xiaoming says:

  Just watched “Beverly Hills Chihuahua” on DVD (go ahead, judge me). I had no idea that Placido was involved: he provides the voice for Montezuma, the leader of the lost tribe of warrior chihuahuas (don’t ask). My brain still hasn’t figured out how to process this nugget of information.

  on March 15, 2009 at 10:42 AM
• brooklynpunk says:

  Wouldn’t it be nice…and civilized..on the 40th anniversary of an Artist, to not feel the need to sink to such hysterical nastiness as is being splattered on Placido Domingo, here..and just congratulate him on his longevity–and the pleasure he has brought to millions of listeners throughout his long career–and his promoting an art-form we claim to care about…?

  One doesn’t have to be a fan–or even to gloss over valid criticisms–but what POSITIVE contributions have those who use such insanely filthy invectives against this ARTIST brought to the table , themselves…name me just ONE…

  CONGRATULATIONS, MR. DOMINGO…!

  on March 15, 2009 at 11:00 AM
• sopranosister says:

  Forgive me: while I fully understand the less-than-fortunate trends unwittingly started by the Three Tenors concerts, it is a singularly outrageous leap to make a statement like “Domingo is a great artist who just happens to have ruined the classical music industry”. In fact, the exact opposite could be argued, and anyway I would suggest that some of his other activities have played a far greater role in the problems we face, though one cannot blame any one person/institution/practice soley for what’s happening. Let’s get a grip and truthfully acknowledge that this fellow continues to appear on opera house stages, and does a decent enough job to call into question the work of singers far younger than himself. He may not be the kind of person who will ever be able to bring himself to retire. I am sure we all know people like this in our lives. He is a notorious workaholilc, so be it. I am under no illusions about the role which his healthy ego plays in all of this, I should make that very clear. His contribution to the artform and the industry simply cannot be disputed, period.

  on March 15, 2009 at 11:16 AM
• alexythymia says:

  Sopranosister-I think you’re right. I didn’t mean to be mean, and I probably came off sounding that way. Let me clarify:

  I don’t think that Domingo intended to do that with the Three Tenors. I grew up on him, and I think he’s done more for opera than Sills, Pavarotti, and all the singers of his generation rolled together. But for me he did that pre the Three Tenors, via his art, and I DO think that the whole concept opened up a huge can of worms, a huge investment in less worthy projects for others with less energy and love of the genre. Even as Domingo goes on to revive forgotten operas, invest in new ones, so on.

  I love the man. As a Catholic, I deeply respect what he’s doing with this JP II thing (I have no use for Jenkins, Groban, & al–but the duet with Placi JR is worth hearing.) Next time I’ll just be unabashedly fannish instead of trying to come off as clever. It’s no more than he deserves, and some of us are wicked excited if we can pick up tonight’s gala on our remote computers

  on March 15, 2009 at 12:02 PM
• alexythymia says:

  PS: I STILL think Domingo needs to tackle the cantautori (seriously). There’s good and bad crossovers, still

  on March 15, 2009 at 12:04 PM
• Beeserious says:

  what has he done for opera except compete with Luciano for the bragging rights to be number one tenor? Luciano won by the way, and now he is left so he wins in abstentia.

  What has he done? Establish mediocre vocal schools in both his opera companies, none of which ever offer wise casting choices, or produce anything other than comprimari.

  This thing with Jenkins is a flashlight on what he will do for attention in his old age. He sings very well with a limited top as he has since he was mid career. his musicianship is impeccable, and he is tall. Operalia is a curious joke.

  what has he done alex, the gushing fan? Tell some of us who are rapt to know.

  on March 15, 2009 at 1:18 PM
• wotan_in_inman says:

  I’d be interested in knowing why you feel Operalia is any more of a “joke” than Cardiff or The Met Auditions. I ask this neither as attack or defense, but to gain information and/or opinions other than my own.

  I haven’t followed any of them slavishly. I admit to being embarrassed for the totally-at-sea Diana Ross as Operalia hostess that one year. But I also recall that some young singers got a break which led to bigger and better things. In one year alone, I recall Ildebrando d”Arcangelo, Brian Azawa, and Jose Cura wer all laureates. (But as you know from some of my previous comments, my memory is faulty.)

  on March 15, 2009 at 3:59 PM
• alexythymia says:

  I don’t think that PD’s commitment to what he does ever appears less than total, not from the outside. I think that this sense of commitment and destiny–with more or less the chops to back it up–will tend to induce skepticism and resentment. Greatness does. Despite his ebullient personality, I think that Domingo is nonetheless formidable–not as likeable as a Pavarotti–and that that is part of what turns people off to him and splits the camps.

  As to what he’s done–since you asked, I’ll get back to that when I can, promise ♥

  on March 15, 2009 at 3:59 PM