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Subject: Re: Dimingo's Yearly income
From: Kiwi <[log in to unmask]>
Reply-To:Kiwi <[log in to unmask]>
Date:Sat, 1 Dec 2018 12:17:23 -0500
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Snark and envy from non-singers simply because some of us deal with objective fact?  Really?

You are more worried about the current crop of mediocre young singers as a way to ignore or justify the continuation of an older mediocre singer?

No snark or envy here, just embrace truth:  Domingo isn’t a baritone, he can’t fully sing many of the roles he is currently singing because he is not a baritone, and the reason he continues to sing these roles is because a heck of lot of people know the name and idolize the man and don’t care that he isn’t able to sing all the notes.  

My problem is with the so-called opera fans who dissect every aspect of a singer’s career, down to single performances, with some even dwelling on single notes and who now embrace a singer simply because he used to be a non-mediocre tenor, and that history seems to be enough of a justification for lionizing him as a mediocre baritone who simply doesn’t have the notes.  

Of course, I could also argue that a baritone who doesn’t have the notes is a heck of a lot worse than mediocre, but then you know that already.  The twisted justifications of people who insist that it is not important to have the notes in the throats as long as you sing smoothly and don’t mess up too badly are simply being apologists for a favorite singer:  If you were honest, if it were anyone other than Domingo, such a singer would be excoriated.

And the idea that you are worried about today’s mediocre while encouraging yesterday’s mediocre is really the height of self-justified mumbo-jumbo.  

Domingo sells tickets because people come to see and not hear.  That’s fine.  I certainly understand the $$ pursuit by opera houses. And I appreciate the dedication of true fans who simply cannot accept the reality that their life-long hero is no longer the singer he once was.  I’m arguing from a more altruistic position which posits that the work is more important than that.  It’s an idealistic position, I agree, because too many folks build their own reality and then stand firmly entrenched in that reality.  And no, bringing up the fact that there are some younger singers who are bad and that justifies a bad baritone really doesn’t shift the discussion in your favor.

Enjoy your tenor in all the wrong roles but please, understand that other people have different standards and don’t enjoy a tenor who has only his tenor lowest notes left and has restyled himself as a baritone who used to be a famous tenor.

So, agree to disagree and let’s all move on.  All the best and have a great day!



From: Paul Ricchi 
Sent: Saturday, December 01, 2018 8:58 AM
To: Kiwi 
Cc: [log in to unmask] 
Subject: Re: Dimingo's Yearly income

My defense has always been of Domingo’s RIGHT to work, and our RIGHT to not be present.

Anything else around the Domingo issue is a side issue: opinion much of which I share, snark and envy.

I tried to listen to a video of Rigoletto, and could not get through the the seduction bamboozlement.

There is a sub-species of opera fanatics (they know who they are) who will thrive on this shit. And he is a big fat target: they can abhor is singing, conducting, and administration. They are much like a subspecies of baseball fanatics who think they can manage a baseball team as well as anyone in the job now. Most of them do not even know the infield fly rule.

I am much more concerned with active singers in opera who do not quite measure up. Let’s say that Domingo is now a mediocrity, at least he is a revenue producer. I am concerned with the mediocre singers - lacking the excuse of age and celebrity - who cannot mitigate their shortcomings with revenue production.


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