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Subject: Re: Domingo to sing Gianni Schicchi
From: David Kubiak <[log in to unmask]>
Reply-To:David Kubiak <[log in to unmask]>
Date:Sat, 20 Jan 2018 15:06:15 -0500
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When Sirius started broadcasting Met performances (and before the Levine
ban), I listened to Domingo a lot, and it became clear to me that the
problems with his top were in fact worse and began earlier than I had
previously imagined.  Late 70's 'Forza' with the end of the aria threatening
complete collapse, 'Aida's of all periods with embarrassing attempts to end
the aria, every performance I heard of 'Otello", I think, cracked and gone
hoarse at ' questo il fin' in 'Ora e per sempre'. The list could go on.  He
was a tenor with a short top who managed somehow not to let all the cracking
and going hoarse and desperate lunging for notes he didn't have compromise
the basic beauty of the notes he did have for a very long time.  (And Birgit
Nilsson was a very nice person.)

David Kubiak   


On Fri, 19 Jan 2018 17:45:15 -0600, Les Mitnick <[log in to unmask]> wrote:

>I would like to weigh in on this, even though I was never a Domingo fanatic
(didn't much care much for Pavarotti either ---- I always preferred tenors
like Vickers, Corelli, Krause, Shicoff, and earlier, Bjoerling, Valletti and
Tucker.  I found Pavarotti to have an amazing voice, but loaded with
publicity baggage, excessively pedestrian on the opera stage, and very
limited as far as repertoire was concerned.  There were times when I admit
that I loved listening to him, but the overall impression was indifference.
 And of course he obviously allowed his extreme weight to effect his health.
>
>    Placido Domingo in the 70s certainly had a good top C (as Birgit
Nilsson verifies in her book ----- they did Tosca and Turandot together
enough times for her to know.  By the middle 1980's, his top became less
easy but remained credible.  As the years went by, his ultimate note was a B
flat.  I don't recall any critic saying that he had a "painful" top.
>
>    People can complain about Domingo's longevity on the opera stage (it's
hard to believe that at age 19 he sang Edgardo opposite the Lucia of Lili
Pons!), but there are some undeniable facts which no one can dispute.
>
>    A.  Domingo has undertaken more operatic roles (in Spanish, Italian,
German, French, Russian and English) than any singer in history.
>
>    B.  By some miracle, his voice has remained a valid one and he can
still deliver a performance (his new DVD of Macbeth has received wonderful
reviews.).
>
>    C.  The man had/has a tremendous capacity for work.
>
>    D.  Critics have been far kinder to him than most of us on this Board
>
>    E.  Domingo still sells tickets, and people still are willing to pay
money to see/hear him.
>
>    F.   He truly loves his work.
>
>
>
>    I think people should lay off of him.  Those who don't cotton to him
needn't bother to hear him.  It's OK.  I'm sure he's not offended.  I'm
reminded of a famous Callas quote: "Those who don't like my voice shouldn't
come to hear and see me because if I don't like something, I just don't
bother about it".
>
>   Derision, jokes, and sheer nastiness is useless and counterproductive.
>
>> On January 19, 2018 at 3:57 PM David Kubiak wrote:
>>
>>
>>     What I found interesting when Domingo started singing as a baritone
is that
>>     he emphatically was not a baritone, as some had always claimed during his
>>     career, but a tenor with a short and frequently painful top.
>>
>>     I remember when I first start listening to the broadcasts Ramon Vinay
sang
>>     Don Bartolo. How did that go over?
>>
>>     David Kubiak
>>
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