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...storm troopers broke up performances. New York critics were not that harsh, but some deemed the libretto dated and the music not worth Weill. Still, uptown was heady for Grey. In lieu of Broadway's traditional "break a leg" opening night messages, a telegram from Met Tenor Placido Domingo invoked an ancient Jewish Spitzpah. "Ptui, ptui, ptui," it said, "on your operatic debut...

Author: /time Magazine | Title: People, Mar. 31, 1980 | 3/31/1980 | See Source »

With over a hundred performances to his credit, Matthew Diller has graced the stage of the New York Metropolitan Opera with such immortals as Beverly Sills, Luciano Pavarotti, Leontyne Price and Placido Domingo. He has known the great and the near-great, and also the not-so-great. Yes, Diller is one of that special corps of performers so essential to every opera--the extras. For what would the French revolution be without an angry peasant mob? Who will hold back the crowd in Boris Godounov when it surges to crown him king? For that Matter, who will...

Author: By Peter M. Engel, | Title: Confessions of An Opera Star | 1/8/1980 | See Source »

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...

Author: /time Magazine | Title: Letters, Oct. 15, 1979 | 10/15/1979 | See Source »

...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...

Author: /time Magazine | Title: Music: The Met, the Moor and the Eye | 10/8/1979 | See Source »

...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...

Author: /time Magazine | Title: Music: The Met, the Moor and the Eye | 10/8/1979 | See Source »

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