Word: placido
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...COULD PUT all of this into a book one day. A book of stories as true as what you've just read. I could regale you for pages with tales of my brushes with the high and mighty: Bill Madlock, Cloris Leachman, Howard Cosell, Placido Domingo, Ronald McDonald. The list goes on and on. But I just don't know if I could sleep at night upon the wreckage of the broken careers, the shattered lives that would result from such a work...
...answer, as it happens, is none of the above. No one, however, has asked for a refund, for Zeffirelli's vision is as vivid as ever. In addition to Soprano Eva Marton as Princess Turandot, Tenor Placido Domingo as Calaf, her suitor, and the other principals, there are 286 singers and supernumeraries. By comparison, Zeffirelli's Boheme at its most gargantuan fielded a cast of merely 280. Much of the Turandot scenery was shipped from Italy in eleven cargo containers, each 40 ft. long. There are 300 costumes, and the headgear alone uses 44 lbs. of pearls, golf balls, chandelier...
Conceived, at his request, as a starring vehicle for Spanish-born Supertenor Placido Domingo, Goya was given a handsome $1.1 million production by the Washington Opera before an opening-night audience in the Kennedy Center that included Queen Sophia of Spain and glitterati from two continents. It is being broadcast nationally this week on PBS. So far, so laudable...
...party party included a ceremony saluting Americans of varied ethnic backgrounds that were not all acknowledged in July. Among the 80 honorees: Joe DiMaggio, Muhammad Ali and Barbara Walters. Next day a glittering concert and dinner dance at New York City's Lincoln Center featured Charles Aznavour, Julio Iglesias, Placido Domingo and the premiere of a new cantata by Composer William Schuman. When all was conclusively said and exhaustively done, the Statue of Liberty-Ellis Island Foundation had chalked up some $300 million. "That's a lot of bake sales," quipped Foundation Chief Lee Iacocca, as he prepared to return...
...Traviata widened the opera's scope with tender reminiscences only implied in the libretto. In Otello, however, flashbacks to the Moor's slave childhood are maudlin, and Zeffirelli's camera, jumping edgily from storm to massed choruses to brawls and bedrooms, tires the mind. As Otello, Tenor Placido Domingo is in robust voice, and Bass Justino Diaz makes a splendidly vile Iago. Yet Zeffirelli's presumption in heavily editing Verdi's taut masterpiece serves neither movie audiences nor opera lovers well, and the patina of homoeroticism that suffuses the film contradicts the heterosexual spirit of both libretto and score...