Placido Domingo: Remember me

CNN: You have broken just about every opera known to the opera world.

PD: If you ask me a tough question I will leave…

See also: My 1,154th role

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  • So sorry, but I’d actually rather forget a bit about him. As I said only a few days ago: He was a great tenor, but he’s a lousy and pathetic baritone and I do wish he’d have given up long before.

    • I do not agree and I have seen his Nabucco, Macbeth, Simone Boccanegra, Zurga, Macbeth and Germont live and Posa and Rigoletto online.

      Which ones have you seen?

      • Not only – I’ve written around 90 books too and at least 2/3 of them weren’t for little girls. However, writing for children certainly isn’t an easy thing, but demands some craftmanship.
        I’ve even written a crime novel in which the murder happens during a first night of “Rigoletto”.

      • It’s kind of funny: You’ve got information about Sibylle Luise Binder because she’s brave enough to show her name and her face. That made it possible for you to attack her – out of your anonymity. Rather cowardly, don’t you think?

    • I totally agree, Sibylle. People who dislike your comments just don’t understand that you wish for him, he would be able to see that he destroys his wonderful career as a tenor with this baritone thing. He really should stop singing and better play with his grandchildren or enjoy his house in Acapulco.

      • Again, you dont have to hear or go and see him if you don’t like him so much! It’s not compulsory! Many do like him and they are not ignorant or stupid. I saw him in Boccanegra at the Proms and he was terrific.
        He can’t ruin a tenor career or as a conductor. They are totally intact.

    • I’m sorry but you are out of line here. On what basis are you making these remarks? Have you heard him regularly in the baritone roles? I have and on many nights his voice and artistry would be the envy of much younger singers.

  • LOL. What she says is, “you have broken almost every RECORD known to the opera world.”

    …although the consensus seems to be building that he is now in the business of breaking operas…

  • I thought it was a very interesting interview although not that impressed by the interviewer. I thought he handled it with grace and sincerity. Pity that certain people on this blog see it as a chance to wade into the debate about whether he should give up singing or not.

  • Domingo is becoming the operatic version of The Rolling Stones, who started ‘retiring’ in the early 1980s and haven’t stopped since.

  • I’ve found most of the comments here, and on the other recent Domingo topic disturbing. What are you people so angry about? full of such energy to disparage the man’s really unprecedented career and contributions to opera and singing. Many are actually hateful-just what we need in the dwindling world of art. More examples of spite and stupidity over what?

    First-he was never my favorite tenor, and I heard him in his prime. But saying I always preferred other singers in his roles doesn’t negate that he had many fine outings, and on a given night could approach a great performance. I was never a big fan of his “becoming” a baritone, but he’s done nice work with some of the roles, and there are very few world class baritones that he’s taking work from.
    Any? I’m sure if there were a stable of decent Verdi baritones at work he would, have been more circumspect.

    Not the greatest interview here, but he was his charming, decent self, and most of us would be delighted to be capable of what he is at 78. Again never my favorite singer, be he has done a great deal for the art form, has brought people to it, has helped many young singers with their careers, and not just through his foundation. What’s wrong with all that, what’s there to hate?

    • Good points! Carlo Bergonzi wasn’t my favorite tenor either but sure as hell better than MOST and his Elisir in 1985(?) was wonderful, long after his prime. Today, he would’ve reigned supreme!
      Though Placido is not a Baritone he STILL often was the best singer onstage at the MET in any given performance; a true pro with a LARGE SOUND.
      A generous friend and always admired by his colleagues, living and dead; Great to fans!
      Pulled rabbits out of hats, technically, in his waning tenor days, including the last notes of Samson in his last perfs of the role (which I have know idea HOW he did it–thrilling!)
      So, enough with the sour grapes. He is STILL the sole link to the non-opera-going public at large and helps to keep $$ flowing in. Long may he thrive!❤️❤️❤️

  • I’ve heard some of his baritone repertoire, and artistically it’s as good as you would expect from him. The vocal color isn’t the same as the traditional Verdi baritone, but if he wants to sing them and people want to hear them, who am I to say that they’re wrong?

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