With La Scala’s plan to open on December 7 with a new Lucia di Lammermoor thwarted, Trove Thursday sets its Wayback Machine to nearly 50 years ago to present two of the 20th century’s greatest madwomen—Joan Sutherland and Beverly Sills—denounced by Plàcido Domingo and Alfredo Kraus respectively, with the former pair consoled by Kurt Moll‘s luxurious Raimundo.
Chorus girls declare red alert.
“In none of this was he ever anything close to perfect. Great artists never are. Without their devils there would be no angels.”
La Cieca has discovered a document of Plácido Domingo‘s faute de mieux Metropolitan Opera farewell performance.
“Here’s just one more catastrophic crisis — and it seems that at the Met, sufficiently powerful, popular men are beyond reproach.”
The Philadelphia Orchestra’s opening night concert, for better or worse, was not a gala evening starring Plácido Domingo.
An “Anti-Harassment Workshop” was scheduled at the Met today in the same room where Plácido Domingo was rehearsing for this season’s revival of Macbeth.
If any more women come forth with sexual harassment accusations against Plácido Domingo, the Associated Press is going to have to hire Leporello to keep track.
It’s time for Plácido Domingo to man up and withdraw from the Met’s 2019-2020 season.
How do we celebrate a long career in opera, particularly one as illustrious as Plácido Domingo‘s?
Tristan has been the season-launching opera three times before now, but good luck finding someone to provide a firsthand account of the last time.
That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
LA Opera opened their 30th season with a pairing of two of their most popular productions, both of which were initially staged by filmmakers not unfamiliar with the vagaries of our industry outpost here in Hollywoodland.
“The Met’s revival of Verdi’s Ernani Friday night was every inch a tragic opera, though without being grand in any way. Its grisliest calamity was not the one the composer devised but rather one the production’s star, Plácido Domingo, brought on himself.”
Manon Lescaut was Giacomo Puccini’s first big international success. His publisher, Giulio Ricordi, tried to put him off the project by citing Jules Massenet’s very successful adaptation just nine years previously. Puccini was intent on making the story his own, insisting, “A woman like Manon can have more than one lover… I shall feel it…
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation.
Our own Jungfer Marianne Leitmetzerin delves back into those days when there was another opera company in New York, and (what’s more) the opera done there was worth hearing.
This week, Our Own Jungfer Marianne Leizmetzerin turns her vigilant ears to the recent past to take in a performance of Il trovatore featuring Anna Netrebko and Plácido Domingo.
Recently, opera showed up at both Mets, the Metropolitan Opera and the Metropolitan Museum of Art.
Peter Gelb, the Met’s general manager… has engaged Mr. Domingo to sing Don Carlo in Ernani next season, Simon Boccanegra the following season and Nabucco in 2016-17.”
Berliners anxious about casting of the Staatsoper’s new staging of Il trovatore since Aleksandrs Antonenko canceled can breathe a sigh of relief, since tenor Gaston Rivero (pictured) will jump in as Manrico.
La Cieca has been wining, dining and otherwise wooing her Met connection (pictured above) and he (or is it she?) has come across with some tidbits about upcoming seasons at Casa Gelb.
“Placido Domingo Released From Hospital; Tenor Confirms He Will Sing Giovanna d’Arco”
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
