Famous Opera Arias - Placido Domingo (2008) - ISBN:B000059RXO

Famous Opera Arias - Placido Domingo (2008)

Date: 12 November 2010, 08:03

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If you start with his professional debut in Mexico at 16, singing as a baritone in the zarzuela company his family ran, Plácido Domingo has been before the public for 52 years. In an astonishingly long career, including 40 seasons with the Metropolitan Opera, Mr. Domingo said that he can not see himself retiring the way many star singers do: by announcing a farewell tour and going from company to company, city to city, accepting tributes and taking his leave. "Rather," he said, "I think it will be one evening, after a performance, to say, 'That's it.' "

The tenor, who turned 68 in January 2009, came very close to doing this in January of 2007 at the Metropolitan Opera, at the end of the premiere run of Tan Dun's opera "The First Emperor," a Met commission, written expressly for him.
He was feeling well vocally, he said. But learning, rehearsing and performing a demanding lead role in an unconventional new opera had taken enormous effort. He said he was tempted, but since he was in good shape and good box office, selling out in fact, he decided he should continue.
On March 15, the Met presented a gala program to celebrate two milestones: the company's 125th anniversary, and the 40th anniversary of Mr. Domingo's debut on Sept. 28, 1968, when on short notice he substituted for Franco Corelli, who was ill, singing the role of Maurizio in Cilea's verismo melodrama "Adriana Lecouvreur," opposite Renata Tebaldi, no less. In his review for The New York Times, the critic Donal Henahan described Mr. Domingo as the Met's "hottest young artist" in the tenor category, "a strapping fellow with a plangent and sizeable voice, as well as considerable stage magnetism."
Maintaining joint careers as superstar tenor and part-time conductor would be demanding enough. But Mr. Domingo has also been running two opera companies, the Washington National Opera and the Los Angeles Opera. He has brought attention to both institutions, enticing colleagues to come work with him, charming patrons and developing some worthwhile artistic projects. But those who work at the companies will tell you that a lot of administering has to be crammed into days when the boss is in town, before he jets off to the next singing gig.
In recent years his voice has sometimes sounded a little leathery, and his legato can have some patchiness. And he has increasingly relied on transpositions to bring certain high passages down into his vocal comfort zone. But in his voice there is not a trace of the wobble that afflicts older singers. His sound is robust, earthy and still powerful. He sings with a savvy blend of nobility and know-how.
His longevity is all the more remarkable when you consider the breadth of his repertory, all over the map, not just the major Verdi and Puccini roles, but French repertory from Gounod's Romeo to Berlioz's daunting Énée in "Les Troyens." He attributes his longevity to his slow start. At a young man, he thought he was a baritone. But he soon agreed with teachers that he was a tenor. In those early days he worked tirelessly to build his upper range, "fighting for every semitone," he said.
His work has also been enhanced by his comprehensive musicianship. As a young man in his family's zarzuela company, he conducted the instrumental ensemble and prepared arrangements. And he has conducted opera and orchestra concerts increasingly over the last two decades. He has had strong critics as a conductor, though in recent years his technique has notably improved.
While acknowledging his limitations as a conductor, he once told me that had he put all of his energy and focus into conducting from the start and not become a singer, he is convinced that he could have developed into a major conductor. This seemed not an idle boast but a solid musician's clear-headed analysis of his own capacity.
--Anthony Tommasini (The New York Times, March 12, 2009)

Tracklisting:
01. Tosca: E Lucevan le stelle (Puccini) <3:09>
02. Pagliacci: Recitar! Mentre preso: Vesti la giubba (Leoncavallo) <4:16>
03. Rigoletto: La donna ЁЁ mobile (Verdi) <2:19>
04. Andrea Chenier: Im do all `azzuro spazio (Giordano) <4:31>
05. L`arlesiana: Lamento di Federico (Cilea) <4:53>
06. Aida: Se quel guerrier io fossi; Celeste Aida (Verdi) <4:34>
07. Le Cid: Ah! tout est bien fini!; O Souverain, o juge, o Pere (Massenet) <5:14>
08. La Traviata: Lunge da lei; De' miei bollcnti spirid (Verdi) <3:51>
09. L'africana : Mi bane il cor; O Paradiso ; Deh! Oh'io ritorni (Meyerbeer) <7:47>
10. Carmen: La fleur que tu m`avais jetee (Flower Song) (Bizet) <4:06>
11. Faust: Quel Trouble inconnu; Salut! Demeure chaste et pure (Gounod) <5:43>
12. La BohЁЁme: Che gelida manina (Puccini) <4:46>
13. L`Elisir d`Amore: Una furtiva lagrima (Donizetti) <5:02>
14. Eugene Oncgin : Lenski's Aria : Kuda vy udalillis (Tchaikovsky) <9:12>
15. Martha: M`appari tutt`amor (Flotow) <3:49>

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