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Subject: Re: Nilsson on Corelli and Turandot
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Thu, 16 Nov 2017 10:16:40 -0700
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I will use my second posting of the day for this.  Yesterday at Sherrill
Milnes Master Class at Arizona Opera, the question came up of singers he
worked with, tenors, and transpositions.  Of course Domingo was mentioned.
His answer was - and he sang with almost everyone of the last 50-60 years
except MDM. He knew Del Monaco but said by the time his career got going,
MDM had been in that awful accident and ended up on dialysis so they never
got to perform together.  Of course, the great dramatic tenor Otello's of
his time were MDM, Vinay, Vickers and McCracken.  He sang with the last
two, but not the first two.  He said Domingo sang everything with his voice
and within the limits of his voice.  He never strayed.  Most of the time it
worked, sometimes it didn't  From the beginning, everyone was saying he
would burn himself out and ruin his voice but it never happened because he
had his technique, way of singing and he never departed from it.  If a note
didn't come out right, he went on, didn't dwell upon it.  He also said
Domingo was about the most musical tenor he ever worked with.  When asked
about his forays into the baritone rep, he was very diplomatic - again,
saying he sings it with his voice - doesn't try to make himself into
something he is not and you have to accept it or not accept it on those
terms.  As with all of the advice he gave, it was practical, charming and
very honest.  I hope this helps.

Donald

On Thu, Nov 16, 2017 at 9:52 AM, David Kubiak <[log in to unmask]> wrote:

> I certainly don't want to start up the Domingo wars again, but this comment
> reminded me of a question I have had since Sirius started up and we have
> heard so many live Domingo performances.  Almost invariably there are
> places
> where he cracks and goes hoarse very badly.  As a listener I practically
> get
> a sore throat myself hearing things like his attempt at the end of 'Celeste
> Aida' or in 'Ora e per sempre' at 'รจ QUESTo il fin.'.  You would think that
> all this straining and cracking over such a long career would inevitably
> cause damage to the voice, but it never really did. When he got back below
> the staff he continued to produce beautiful legato singing (I refer to his
> main career, not this bizarre tail end).  Any thoughts about how he avoided
> permanent damage to his instrument?
>
> David Kubiak
>
> _______
> >Domingo's Des Grieux? Almost invariably strained, but one of the few roles
> >he NEVER called in.
>
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