Word: traviatas
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Years ago, a leading New York tenor named Brignoli made a point of not being touched during onstage love scenes; that, he felt, would have been both indecent and unlucky. More recently, Soprano Beverly Sills went through an entire act of La Traviata with a tenor who never once looked at her. Conclusion: tenors as a group are still not only shorter and rounder than their heroines, but as adroit as ever at underwhelming them romantically...
...phrases his serenades with a taste and elegance unmatched since the days of Jussi Bjorling. As an actor, he is manly, confident and capable of the kind of tender gestures that can thrill girls on both sides of the footlights. Four years ago, in a New York City Opera Traviata, Domingo inspired audible sobs all over the house when he carried the dying Violetta (Patricia Brooks) around in his arms like a baby. Says the still impressed Brooks: "Now every soprano wants to sing with Placido...
...years later he made his operatic debut in Traviata with Mexico's National Opera. That same year he sang opposite Joan Sutherland in Lucia di Lammermoor with the Dallas Civic Opera. Then came an offer from the Israel National Opera in Tel Aviv. Nearly 300 performances later, Rudel signed Domingo and gave him the title role in Ginastera's Don Rodrigo at the February 1966 opening of the company's new home in Lincoln Center. Domingo...
...language Boris Godunov. But the Met's first week will probably open with Aïda and Leontyne Price, and there are plans for brand-new productions by Franco Zeffirelli of Cavalleria Rusticana and Pagliacci, along with Renata Tebaldi's Tosca and a so-far-uncast La Traviata. Thereafter, apparently, except for Joan Sutherland and Marilyn Home in a new Norma, the 16 offerings will be familiar...
...much a triumph of brain as of voice. "When word gets around that you can read something other than a C-major scale," he says, "people seem to pigeonhole you. I enjoy it, though. I'd go out of my mind if I sang nothing but Tosca and Traviata." Reardon pragmatically divides compositions into only two categories: music and nonmusic. "Some things I won't do," he says. "I once heard Martina Arroyo do a work called Momente by a composer I have forgotten.* She was called upon to make all kinds of sounds, including bird chirps...