The Domingo Dilemma

[Master Jacques]

One of his earliest recordings was of a Ginastera opera.

But, by and large, no he hasn’t. In his administrative capacity at Los Angeles (or was it Washington?), he was behind some ‘new’ opera commissions but they were largely quickly-forgotten works in a ‘conservative’ style.

It’s hard to see how he could have associated himself with innovation, though. He’s basically just a singer (he only gets conducting gigs on the back of his celebrity - his only point of similarity with the late Edward Heath) who was best suited to the ‘bread and butter’ Italian repertoire.

He had a strong bond with Ginastera, performing and recording Don Rodrigo (sadly highlights only), while the composer also wrote his stage masterpiece Bomarzo for Domingo in the title role. Neither of these are remotely "conservative" in style. Do you know them?

"Basically just a singer"? Aside from conducting, you might be generous enough to consider the extraordinary energy with which he's (a) run opera companies - at Washington and elsewhere, (b) sponsored individuals through his musical charities, (c) funded the extremely important and prestigious Operalia competition and (d) acted as an unpaid musical ambassador for his adopted, Mexican homeland.

To say he is "best suited to the 'bread and butter' Italian repertoire' is baffling, and would be disagreed with vehemently by those of us fortunate enough to have heard him in his (equally wide-ranging) Spanish repertoire, on disc and stage. Personally, the very best thing I ever saw him do was The Tales of Hoffmann in John Schlesinger's ROH production which was created to showcase his extraordinary acting as well as singing talents. That's French. His musicianship is of a rare order, whether or not you happen to think his German pronunciation is perfect. But how could a mere "Italian tenor" sing Siegmund, Walther and Lohengrin so much better than proper Germans? Actually of course Bayreuth was quick enough to use him, and to hold on to him. And they don't need "stars" to sell their five-times oversubscribed seats - they used him for artistic reasons.

There is so much more to Domingo than "just a singer". If he's "just a singer", so are Janet Baker, Kathleen Ferrier and Enrico Caruso. I think we get the picture that you aren't madly keen on him or his work. So why not graciously leave it at that?

[Master Jacques]

I very much hope that Domingo's career is not ended by malicious tittle-tattle. If the allegations are found to be true, that's a different matter, but as things stand, idle gossip promoted in this thread could be very damaging to a potentially innocent person.

Why don't we just leave it there?

Well said.

[Master Jacques]

I planned some time ago to include a Domingo recording in my forthcoming Recorded Music Society presentation and I certainly intend to leave it in my programme.

Excellent Stanfordian: and very good luck with your talk!

[Master Jacques]

Now this issue is something that's not discussed often enough if you ask me. Needless to say it's composers as well as performers who fall foul of the cash-sucking layers of management that choke up the performing arts world (and higher education too, and no doubt other areas also). It's a huge dead hand on vitality and innovation. Of course Domingo has never had the slightest interest in any kind of innovation. (As you were! )

As for Higher Education, a highly respected music professor at one of the "top twenty" universities recently told me that it's not just the administrators who are in cash-sucking business. He cited three music professors - in leading posts, including the Tovey Chair at Edinburgh Uni. - who cannot even read music! They seem to be in post for their entrepreneurial and administrative acumen, not any academic merit or practical musical experience.

[Conchis]

I very much hope that Domingo's career is not ended by malicious tittle-tattle. If the allegations are found to be true, that's a different matter, but as things stand, idle gossip promoted in this thread could be very damaging to a potentially innocent person.

Why don't we just leave it there?

It is NOT idle gossip.

The allgeations are both serious and credible.

A culture of bullying and intimadiation where opera admisntrations had to be careful not ot assign Domingo ‘young, female dressers’, the ending of contracts for singers who said ‘no’ to the great tenor and reports of inappropriate ‘touching’ and persistent ‘requests.’

Not quite as bad as the charges levelled aginast the disgraced Harvey Weinstein, but they’re in there pitching.

[Conchis]

He had a strong bond with Ginastera, performing and recording Don Rodrigo (sadly highlights only), while the composer also wrote his stage masterpiece Bomarzo for Domingo in the title role. Neither of these are remotely "conservative" in style. Do you know them?

"Basically just a singer"? Aside from conducting, you might be generous enough to consider the extraordinary energy with which he's (a) run opera companies - at Washington and elsewhere, (b) sponsored individuals through his musical charities, (c) funded the extremely important and prestigious Operalia competition and (d) acted as an unpaid musical ambassador for his adopted, Mexican homeland.

To say he is "best suited to the 'bread and butter' Italian repertoire' is baffling, and would be disagreed with vehemently by those of us fortunate enough to have heard him in his (equally wide-ranging) Spanish repertoire, on disc and stage. Personally, the very best thing I ever saw him do was The Tales of Hoffmann in John Schlesinger's ROH production which was created to showcase his extraordinary acting as well as singing talents. That's French. His musicianship is of a rare order, whether or not you happen to think his German pronunciation is perfect. But how could a mere "Italian tenor" sing Siegmund, Walther and Lohengrin so much better than proper Germans? Actually of course Bayreuth was quick enough to use him, and to hold on to him. And they don't need "stars" to sell their five-times oversubscribed seats - they used him for artistic reasons.

There is so much more to Domingo than "just a singer". If he's "just a singer", so are Janet Baker, Kathleen Ferrier and Enrico Caruso. I think we get the picture that you aren't madly keen on him or his work. So why not graciously leave it at that?

The Spanish repertoire is not mainstream. Very few Spanish operas are performed internationally. In fact, I can thin of only one (La Vida Breve) which ever gets any outings outside Spain.

As to Domingo’s role as an opera manager/impresario - I’ve read that his role is largely symbolic and that he has marginally less talent for administration/programming than he has for conducting. His value to the organisations he serves is principally as a figurehead/fundraiser - on that basis alone, his appointments may be justified.

Nobody, not even his accusers, is questioning Doming’s personal generosity or his commitment ot opera as an art form.

[Master Jacques]

The Spanish repertoire is not mainstream. Very few Spanish operas are performed internationally. In fact, I can thin of only one (La Vida Breve) which ever gets any outings outside Spain.

I beg to differ from such a traditional, narrow view. What is "mainstream" depends on which stream you're standing in. I can come up with 100 or so Spanish operas which are completely mainstream in the Hispanic world, which in 30 years or so will become the dominant Western culture worldwide. So you'd better start doing some catching up! They are increasingly part of the international repertoire, especially in the USA and Germany. But even La Scala has staged Spanish work in the last few years. And after all, it is well over 100 years since Saint Saens was first to rise from his seat after the premiere of Chapí's La revoltosa to acclaim the work a masterpiece. It is time we Brits caught on to one of the most important operatic "schools".

If you want to hear Domingo in the Spanish repertoire, which he is devoted to spreading worldwide, I recommend you might seek out the recording of Serrano's La dolorosa on BMG, with Domingo and Berganza in the leading roles. It's as good as anything of its time, though different in shape and style.

His role at Washington has been anything but symbolic. He has reshaped the repertoire to include old and new Spanish-language work, and other American houses are following suit. But I am glad you recognise Domingo's "personal generosity" and "commitment to opera as an art form".

[Stanfordian]

Excellent Stanfordian: and very good luck with your talk!