A One-man Golden Age of Opera

For all the fans of Plácido who regularly read this blog here's a couple of recent Press articles:

Placido Domingo reigns in his own golden age of opera

Tenor praises 'future of music'

Full text (just temporarily...) in the extended entry

'Walse! Walse! Wo ist dein Schwert! Das starke Schwert, das im Sturm ich schwange?"

It's the cry of a "wolf's son," Siegmund, in Act 1 of Wagner's "Die Walkure," as he pleads, "Volsa, Volsa! Where is thy sword, that mighty sword I can wield in battle?" The incredible range of emotion compressed into these few lines, as sung by tenor Plácido Domingo, sears the mind like a bolt from another mythic figure, Loge, the "Ring" god of fire. As Siegmund rails against his fate, imploring his father to protect him against harm, these words ring out like the ultimate war cry.

Of course, Domingo, who is appearing as the doomed Siegmund in "Die Walkure" as part of "Ring of the Nibelung" at Lyric Opera of Chicago through April 16, is not just any tenor. At 64, he remains the world's foremost opera star, a great singer as well as conductor. As part of the international phenomenon known as the Three Tenors, he helped to bring opera back into the mainstream. And now as general director, he runs the Washington National Opera and the Los Angeles Opera. In short, Domingo reigns as "a one-man golden age of opera," as Metropolitan Opera artistic director James Levine once called him.

Since his professional debut in 1959, the Spanish-born tenor has sung more than 100 roles in a wide repertoire unmatched in operatic history. William Mason, Lyric's general director, sums it up: "He's one of the all-time greatest artists. There's the enormous musicality of his singing. His glorious sound, his intelligence. As Bruno Bartoletti [Lyric artistic director emeritus] always says, 'I'll take Domingo on opening night,' and the rest will take care of itself."

With the "Ring," Domingo has returned to Lyric Opera for the first time since he sang the title role in Mozart's "Idomeneo" during the 1997-98 season. Last week, in between costume fittings and rehearsals here, he sat down for an interview. "I've been very sad about being away. I do not want to say this will be my last role at Lyric, but one never knows," he said, with his words pouring out in a mellifluous line, not unlike a passage from a Bellini opera. "I've had a wonderful relationship with Lyric since 1968," referring to his house debut in Puccini's "Manon Lescaut." "It is a theater I love, but I have so many commitments."

That's quite the understatement. By some small miracle, he's managed to squeeze these Chicago dates into his busy calendar. Later this month, he heads for New York to reprise Siegmund in "Die Walkure" as part of the Met's "Ring." Meanwhile, also at the Met, he's preparing for his latest operatic debut, in Alfano's "Cyrano de Bergerac." In between his Lyric "Ring" dates, he's off to Biloxi, Miss., and Fresno, Calif., for concerts. And that's just a portion of his schedule for April.

Despite that sort of whirlwind pace, he appears rested and relaxed, not at all as if he were about to scale the summits of Wagner's "Ring." Throughout his career, Domingo has moved further into the punishing German repertory, tackling Wagner's "Die Meistersinger," "Lohengrin" and "Tannhauser." And he has just conquered the most challenging of the Wagner heldentenor heroes, Tristan in "Tristan und Isolde," for an EMI set due out in July.

"Tristan," not "Parsifal," has always loomed as his Holy Grail of vocal roles. "I have studied this opera for years, but it took me many years to fully understand the part."

To say nothing of its taxing properties: "When Birgit Nilsson used to sing the role," he said with a smile, "I understand the Met used to have three Tristans on call, one for each act."

But Siegmund remains one of his favorite assignments. " 'Die Walkure' has the most beautiful drama, the most musical setting. I only wish that it didn't end so tragically. The way he dies, it's so sad. There are so many possibilities that the hero never fulfills onstage."

Despite his current love affair with Wagner, "I am sleeping now with Cyrano," he said with another bemused smile. Written by Franco Alfano (best known for completing "Turandot" after Puccini's death), "Cyrano" is based on Edmund Rostand's play about the valiant soldier poet never at a loss for words but bereft of true love.

Unlike "Tristan," Domingo has been studying this role only recently. "In the past, sometimes it would take me only four to five days to learn a role," he said. "Now it is taking me a good four months. My mind is so much busier than before, it takes longer."

But "Cyrano," which had its debut in 1936 and since largely disappeared, might seem like an unusual choice. For Domingo, it suits his desire for searching out unusual repertoire. "I have always tried to sing new roles. Meyerbeer's 'Le Prophete,' 'Pique Dame,' 'Les Troyens,' 'Francesca da Rimini.' Now I have convinced the Met and Covent Garden to do 'Cyrano.' It's like a verismo Debussy. But the libretto is written in a very old French style. Musically, it's in the line of 'Turandot,' not always the easiest to sing."

"Cyrano" also presents physical challenges; its extensive sword fights demand a flair for fencing. "Cyrano must build sympathy with the public in the very first scene, when he must fight and sing like a hero," he said, punctuating his words with a flourish of an imaginary epee.

And what about the final scene, when Cyrano dies and offers Roxane the very symbol of his valor and nobility, "my white plume"? Domingo is confident that his director, Met veteran Francesca Zambello, will come up with a novel way to dramatize it. "I trust her completely; I'm sure she will find a way to deal with that."

Along with sharpening his fencing skills, he prepared by watching Cyrano portrayals on film, "including Jose Ferrer, Gerard Depardieu and Steve Martin."

Steve Martin? It's surprising to imagine the great tenor kicking back with "Roxanne," but Domingo confesses to being a film buff. "I regret I don't get to the movies as often as I would like," he said. "But I am a member of the Academy [of Motion Picture Arts and Sciences], so they send me screeners. I love going to the movies. It's just as an important part of life as music."

Along with the cinema, he harbors other not-so-secret passions. "Of course, there's sports -- soccer, tennis, Formula 1." At this point, he zooms off into an animated analysis of Michael Schumacher vs. Spain's Fernando Alonso, whom he hopes will become the next Formula 1 champion.

But Domingo's not about to follow the example of fellow icon Paul Newman and take up racing himself. Or decide to sponsor a car. "No! It's too expensive. Even more so than opera," he said with a rueful smile.

***

As for passions ... let's start with the man himself. The day after this interview, at a dress rehearsal of "Die Walkure," the heat generated between Domingo and mezzo soprano Michelle DeYoung, exchanging ardent looks of desire as the incestuous twins Siegmund and Sieglinde, wafted to the upper reaches of the cavernous Civic Opera House.

Afterward, DeYoung admitted, "He certainly has that charisma. He's very confident in that area. It makes a huge difference how passionate you can be when your partner is so giving. It can be awkward to be that passionate with someone who you don't know very well, but he makes it feel so comfortable."

Later, during the rehearsal, DeYoung comes in a beat early, but Domingo slaps his face, as if he made the mistake instead. It's a small but telling sign of artistic solidarity.

"Even for someone with such an amazing career, he is very supportive and patient," said DeYoung, who is making her debut as Sieglinde in Lyric's "Ring." "From the first moment of rehearsal, he has treated me like an equal."

Backstage at Lyric, Mason echoed her sentiments: "When he arrived yesterday, he went around and introduced himself to all the crew. He didn't have to do that. He's a lovely man, a terrific colleague. It's a pleasure and a privilege to have him here."

***

For Domingo, the feeling is mutual. "Lyric Opera has been a great company since the days of [founder] Carol Fox. It has always been a real team effort here. We are looking to do the same in Washington and Los Angeles."

While other American opera companies, such as San Francisco and the Met, have struggled through financial or political turmoil recently, Domingo's houses have sailed along relatively unscathed. "I am very happy and proud of my companies," he said. "We are just behind the Met and Chicago in terms of artistic quality and importance. That's not to say that we don't have problems. One of the biggest challenges is raising money. It's not easy; especially since Sept. 11, things have become more difficult. But we have been working miracles in comparison [with other U.S. houses], and we are in good shape."

Throughout his long career, Domingo has been devoted to fostering the next generation of talent. In 1993, he founded Operalia, an annual international competition to promote young artists. Past winners such as Jose Cura, Aquiles Machado and Rolando Villazon since have gone on to further glory.

But during this interview, Domingo singled out not a victor but a recent Operalia contender: baritone Quinn Kelsey, a member of the Lyric Opera Center for American Artists, Lyric's training arm.

"It's disappointing that the jury didn't pick him," he said. "But I want to follow him as soon as he leaves LOCAA, and perhaps bring him to Washington."

In June, Domingo will host this year's Operalia contest in Madrid, his birthplace. Earlier that month, he will join Luciano Pavarotti and Jose Carreras in Monterrey, Mexico, for what's being billed as the final Three Tenors concert. Though he's booked through 2008, including the world premiere of Tan Dun's "The First Emperor" for the Met's 2006-07 season, there's a sense of winding down for Domingo.

Unlike the title character in Janacek's "The Makropulos Case," who goes on singing for centuries, he does not have a secret potion to prolong his artistic life. "At 64, my time is not very long. For me, it is bonus time. I never thought I would sing this long. I have not decided about retiring. When I do, I might still sing recitals. We will see."

Whenever he decides to take his last curtain call, you get the feeling that he will go out like the ever-valiant poet Cyrano, with one final elegant gesture. And perhaps with even the very same last words: "...My white plume."

The complete tenor ... a sample

Placido Domingo has released more than 100 recital discs, crossover albums and complete operas over his five-decade career. Here's a sampling of favorites:

"Bravo, Domingo" (1998, Deutsche Grammophon): A two-disc survey of Domingo's many DG recordings, featuring arias such as "Vesti la giubba" from "I Pagliacci," the Prize Song from "Die Meistersinger" and "Di quella pira" from "Il Trovatore."

Giordano, "Andrea Chenier," with Renata Scotto, Sherrill Milnes and James Levine leading the National Philharmonic Orchestra (1977, RCA): Still the definitive version of this verismo favorite, almost 30 years after its release.

Verdi, "Luisa Miller," with Aprile Millo, Vladimir Chernov and James Levine leading the Metropolitan Opera and Chorus (1992, Sony Classical): An unjustly neglected work in the Verdi canon, as this sterling effort demonstrates.

Verdi, "Otello" with Cheryl Studer, Sergei Leiferkus, Ramon Vargas and Myung-Whun Chung conducting the Bastille Opera Chorus and Orchestra (1993, DG): Domingo's third take on his signature role turns out to be the most thrilling, though others still might prefer his earlier RCA or EMI versions.

*"The Very Best of Placido Domingo" (2003, EMI Classics): Another two-disc compilation set, this time a little more wide ranging, from Handel ("Vani sono i lamenti" from "Giulio Cesare") to Spanish zarzuela.

"Under the Spanish Sky" (1996, Sony Classical): A collection of songs by Mexican composer Agustin Lara, including "Granada," which has become a Domingo hallmark.

Wagner, "Lohengrin," with Jessye Norman, Siegmund Nimsgern, Hans Sotin and Georg Solti conducting the Vienna Philharmonic (1987, DG): Awarded a highly coveted Rosette in the Penguin Opera Guide.

Wagner, "Tannhauser," with Cheryl Studer, Agnes Baltsa, Matti Salminen and Giuseppe Sinopoli leading the Philharmonia Orchestra (1989, DG): More praise from the Penguin Guide: "Domingo brings balm to the ears, producing sounds of much power as well as beauty."

Wagner, "Die Walkure," Act 1, with Deborah Polaski, John Tomlinson and Daniel Barenboim leading the Staatskapelle Berlin (1993, Teldec): An outstanding live recording made at the Deutsche Staatsoper. For more excellent Wagner excerpts sung by Domingo, seek out "Scenes from 'The Ring' " (2002, EMI) and "Love Duets" with Deborah Voigt and Violetta Urmana (2000, EMI).

Weber, "Oberon," with Birgit Nilsson, Hermann Prey, Bavarian Radio Symphony and Chorus, conducted by Rafael Kubelik (1970, DG): A rarity worth seeking out for one of Domingo's earliest star turns. Currently out of print, but I recently found a vinyl copy (for $1!) at the Newberry Library's annual book sale.

The maestro on Mexico, the Met broadcasts and more

Other observations and opinions from the world's foremost tenor:

On his enduring connection to Mexico:

"I moved to Mexico at age 8 [with his parents, who were famous zarzuela singers] and spent my formative years there. I married a Mexican, and we have been married for almost 43 years. My sons were born there. My love for Mexico is as great as it is for Spain."

On the recent spate of outstanding tenors such as Juan Diego Florez and Rolando Villazon from Spanish-speaking countries:

"It comes in waves. In this past century, most of the great tenors were from the United States or Italy. Then there was a big explosion from Russia. Now it is Spain's and Latin America's turn."

On saving the Metropolitan Opera radio broadcasts, a beloved 75-year tradition whose future is in jeopardy:

"In terms of charity work, I know Bill Gates of Microsoft has already done phenomenal things, but it would be nothing for him to fund the broadcasts."

On whether he might ever attempt onstage other tenor roles from the "Ring":

"The other tenor roles in the 'Ring' I don't like as much. That is not to make excuses about 'Siegfried' [which is an especially demanding role]. Dramatically, Siegfried has to work so much in the first act and then still must be is vocally fresh in the third act, almost four hours later.

"Then in the next opera, 'Gotterdammerung,' he's taken out for a ride. There's no real dramatic strength to this character, until he is finally redeemed in the last act.

"Loge [the god of fire in "Das Rheingold"] is an interesting character. I don't say that I won't do it some day. I need time to study it. Maybe one day."

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BILOXI - World-renowned tenor Plácido Domingo, who sings tonight for a near sell-out audience at the Mississippi Coast Coliseum, had high praise Friday for the Hattiesburg-based youth orchestra that will accompany him.

He popped in on the group unannounced during their rehearsal Thursday night at the Coliseum and floored everybody there, some to the point of tears. The University of Southern Mississippi Symphony Orchestra from Hattiesburg had expected to rehearse with Domingo on Friday for tonight's performance of his diverse mix of opera, popular Latin songs in Spanish and English and Broadway selections.

Instead, he went directly from the New Orleans airport to the rehearsal, where, he said, "it was very emotional to see the musicians for the university. They are the example for everybody to follow, many coming from countries (around the world). This is the future of music." He praised the orchestra's diversity and called his trip here "a journey of hope."

Domingo exuded star power at the Beau Rivage press conference Friday, which was attended by about a dozen members of the media. Sitting at the front of the room between Beau Rivage President Jeff Dahl and USM Symphony Director Dr. Jay Dean, Domingo answered questions with gusto and sincerity. He appeared relaxed and spoke in heavily accented English that was unhurried and sprinkled with humor. The lightweight tan sweater he wore draped around his neck and shoulders gave the Spanish-born singer an appropriately Continental air.

Responding to Dean's introduction of him that cited numerous honors and achievements, Domingo said in a droll manner that the long list, "... means only one thing; that I have been around a long time."

The first thing he said, however, was "I'm very proud to be able to be with you, making music."

During the event, Domingo weighed in on the necessity for having Latin Grammys, saying, "Latin artists had to create Latin Grammys because otherwise, they would have to give most of the Grammy Awards to people in Latin music... Latin music would be the big winner at the Grammys."

He said he connected with Mississippi's beauty and the friendly people and finds it all enchanting, although he said early on he "never saw so much rain in my life" as when he arrived in Biloxi on Thursday night.