Word: domingo
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Dates: during 1970-1979
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There can be little argument concerning the greatness of the Pavarotti talent. TIME is to be commended for honoring it. It is a shame that in the process equally great artists such as Renata Scotto, Placido Domingo and Jon Vickers, whose artistry differs, were so cavalierly dismissed...
...Domingo opens season in a blazing TV performance of Otello...
Tenor Placido Domingo was masterly in his first Otello in New York (he has performed it 40 times elsewhere and recorded it for RCA). Dramatically, he projected a strong warrior but a vulnerable man, a noble nature whose obliviousness to evil turned all his strengths-his depth of feeling, his decisiveness, his simplicity-to fatal weaknesses. The cruelly demanding role requires Otello to sing full-out the moment he walks onstage, with the famous cry of triumph, Esultate!, and scarcely ever allows him to let up thereafter. Domingo's voice was exhilaratingly equal to it all-dark and thrusting...
...drives in check with a keen intelligence. No moment in the opera was more splendidly sung or powerfully acted than the second act S i, pel ciel, with Otello looming over him with upraised hand, like a malign marionette master. In this scene Verdi transcended Shakespeare, said Shaw. Watching Domingo and Milnes, one could only agree...
...Candid Camera. " Sometimes it can be a little too candid. Last week, before Cruz-Romo's big arias, viewers could clearly see her rolling her tongue to gather saliva in her mouth ("My God," she said later, "I didn't know I did that"). But, as Domingo points out, that very intimacy can also enhance a performer's expressiveness: "Viewers can appreciate what's lost on stage-a little glance, a movement. I think we should take advantage...