Word: domingos
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...that she cannot think of one. "I can wait," she says philosophically. "But who knows? I may be too old when it finally happens." A third wish is that a fine young tenor would appear on the opera horizon. "My three tenors," as she refers to Luciano Pavarotti, Placido Domingo and Alfredo Kraus, will do nicely for now, but at 37, Anderson is at least twelve years younger than any of them. What to do, she wonders, when they retire...
When the biggest hand of an operatic evening is not for the singers -- Leona Mitchell as the eponymous Ethiopian slave girl, Placido Domingo as her hapless Egyptian lover Radames -- but for towering sets and slick stage machinery, then the era of content-free opera is at hand. Under the artistic direction of James Levine and departing general manager Bruce Crawford, the Met has ( suffered from a hardening of its arteries, offering up one lumbering spectacle after another without much apparent thought as to whether they make artistic sense...
...fine American singer still some years away from attaining the heft and bravura that her role requires. Italian mezzo Fiorenza Cossotto, as the vengeful princess Amneris, is past her prime at 53 (she made her Met debut in the same part 20 years ago). And the omnipresent Domingo serves up his familiar blend of pathos and bathos without seeming to care where one stops and the other starts. It is a fatal -- but typical -- blend of age and inexperience that even Levine's elegant conducting cannot ameliorate...
...productions, the book is visually gorgeous; in fact, it is too pretty to cook by. It would be nice to have a recipes-only version for the kitchen. With luck it would still include Sherill Milne's Hungarian goulash soup, Regina Resnik's cold stuffed veal roast and Placido Domingo's opulent zarzuela de mariscos, a symphony of shellfish, wine, saffron, olive oil, peppers and garlic...
Sometimes, alas, it is business as usual. This year's season opener, Giacomo Meyerbeer's hoary grand opera L'Africaine, typifies the ills that have afflicted the company. As Vasco da Gama, Tenor Placido Domingo sounds tired and wan, Maurizio Arena's conducting is enervated and Mansouri's own stage direction merely serviceable. Only veteran Soprano Shirley Verrett, as the regal Selika, captures the fiery spirit of Meyerbeer's diffuse and improbable last opera...