José Plácido Domingo Embil[a] (born 21 January 1941)[1] is a Spanishopera singer,conductor, and arts administrator. He has recordedover a hundred complete operas and is well known for his versatility, regularly performing in Italian, French, German, Spanish, English and Russian in the most prestigious opera houses in the world. Although primarily alirico-spinto tenor for most of his career, especially popular for hisCavaradossi,Hoffmann,Don José andCanio, he quickly moved into more dramatic roles, becoming the most acclaimedOtello of his generation.[2][3][4] In the early 2010s, he transitioned from thetenor repertory into exclusivelybaritone parts, includingSimon Boccanegra. As of 2020, he has performed151 different roles.[5][6]
Growing up working in his parents'zarzuela company inMexico, Domingo has since regularly promoted this form of Spanishopera. He also increasingly conducts operas and concerts and was the general director of theLos Angeles Opera in California from 2017 to 2019.[10][11] He was initially the artistic director and later general director of theWashington National Opera from 1996 to 2011. He has been involved in numerous humanitarian works, as well as efforts to help young opera singers, including starting and running the international singing competition,Operalia. Since 2019 he has performed continuously on stages in Berlin, Budapest, Cologne, Graz, Madrid, Mérida, Milan, Monte Carlo, Moscow, Munich, Palermo, Rome, Salzburg, Sofia, Verona, Versailles, Vienna and Zurich.
Seventeen-year-old Plácido Domingo as the tenor Rafael the bullfighter inEl gato montés with Rosa Maria Montes (Mexico City, 1958)
Plácido Domingo was born on 21 January 1941 in theRetiro district of Madrid, Spain.[12] His mother recalled that she and her husband knew he would be a musician from the age of five, due to his ability to hum complex music from azarzuela after seeing a performance of it.[13] In 1949, just days before his eighth birthday, he moved to Mexico with his family. His parents, both singers, had decided to start a zarzuela company there after a successful tour of Latin America. Soon after arriving in Mexico, Domingo won a singing contest for boys, and his parents occasionally recruited him and his sister for children's roles in their zarzuela productions.[14] Domingo studied piano from a young age, at first privately and later at theNational Conservatory of Music in Mexico City, which he entered when he was fourteen. At the conservatory, he also attended conducting classes taught byIgor Markevitch and studied voice under Carlo Morelli, the brother ofRenato Zanelli. The two brothers were famous practitioners of both baritone and tenor roles.[15] Domingo's conservatory classes constituted the entirety of his formal vocal instruction; he never studied privately with a singing teacher.[16]
In 1957, at age sixteen, Domingo made his first professional appearance, accompanying his mother on the piano at a concert atMérida, Yucatán. The same year he made his major zarzuela debut inManuel Fernández Caballero'sGigantes y cabezudos [es], singing a baritone role.[17] At that time, he was working with his parents' zarzuela company, eventually taking several baritone roles and acting as an accompanist for other singers.[18] The following year, the tenor in another company's touring production ofLuisa Fernanda fell ill. In his first performance as a tenor, Domingo replaced the ailing singer, although he feared the part's tessitura was too high for him.[18] Later that same year, he sang the tenor role of Rafael in the Spanish operaEl gato montés, illustrating his willingness to assay the tenor range, even as he still considered himself a baritone. On 12 May 1959 at theTeatro Degollado inGuadalajara, he appeared in the baritone role (sometimes sung by basses) of Pascual inEmilio Arrieta'sMarina [es]. LikeEl gato montés,Marina is an opera composed in the zarzuela musical style rather than a zarzuela proper, although both are usually performed by zarzuela companies. In addition to his work with zarzuelas, among his earliest performances was a minor role in the first Latin American production of the musicalMy Fair Lady, in which he was also the assistant conductor and assistant coach.[19] While he was a member, the company gave 185 performances of the musical in various cities in Mexico.
Domingo made his debut in Verdi'sOtello at Bellas Artes in the comprimario rôle of Cassio in 1962
In 1959, Domingo auditioned for the Mexico National Opera at thePalacio de Béllas Artes as a baritone, but was then asked to sight-read the tenor aria "Amor ti vieta" fromFedora. He was accepted at the National Opera as a tenor comprimario and as a tutor for other singers.[20] In what he considered his operatic debut, Domingo sang the minor role of Borsa inVerdi'sRigoletto on 23 September at the Palacio de Bellas Artes in a production with veteran American baritoneCornell MacNeil and bass-baritoneNorman Treigle. He later appeared as the Padre Confessor inDialogues of the Carmelites, Altoum and Pang inTurandot, Normanno and Arturo inLucia di Lammermoor among other small parts. While at the National Opera, he also appeared in a production ofLehár'soperetta,The Merry Widow, in which he alternated as Camille and Danilo (both originally created as tenor roles, although the latter is often sung by baritones). Domingo made his debut in Verdi'sOtello at Béllas Artes at age 21 in the summer of 1962 not in the title rôle for which he has now been internationally famous for decades as one of its greatest interpreters, but in the small comprimario part of Cassio.
To supplement his income, the young Domingo played the piano for a ballet company, as well as for a program on Mexico's newly founded cultural television station. The program consisted of excerpts from zarzuelas,operettas, operas, and musical comedies. He acted in a few small parts while at the theater in plays byFederico García Lorca,Luigi Pirandello, andAnton Chekhov.[21] He also provided song arrangements and backup vocals forLos Camisas Negras in the late 1950s, a rock-and-roll band led byCésar Costa.[22] In his autobiography, Domingo reflected on the benefits of his busy and varied career as a teenager: "Today, when people ask me how I manage to hold up under my extremely heavy work load, I answer that I became accustomed to intense activity very early in my life and that I love it now as I loved it then."[23]
In 1961, Domingo made his operatic debut in a leading role as Alfredo inLa traviata at the Teatro de la Ciudad inMonterrey.[24] Later the same year, he made his debut in the United States with theDallas Civic Opera, where he sang the role of Arturo inLucia di Lammermoor oppositeJoan Sutherland in the title role andEttore Bastianini as Enrico. In 1962, he returned to Texas to sing the role of Edgardo in the same opera withLily Pons at theFort Worth Opera.[25] It would be the soprano's final operatic performance. That November Domingo sang the second tenor role of Cassio toMario del Monaco's celebratedOtello inHartford, Connecticut. At the end of 1962, he signed a six-month contract with theIsrael National Opera inTel Aviv, but later extended the contract and stayed for two and a half years, singing 280 performances of 12 different roles.
In June 1965, after finishing his contract in Tel Aviv, Domingo auditioned at theNew York City Opera. He was hired to make his New York debut as Don José inBizet'sCarmen with the company, but his debut came earlier than expected on 17 June 1965 when he filled in for an ailing tenor at the last minute inPuccini'sMadama Butterfly. In February 1966, he sang the title role in the U.S. premiere ofGinastera'sDon Rodrigo at the New York City Opera, to much acclaim.[26]The New York Times review noted: "Mr. Domingo was as impressive as ever—a big, burly, large-voiced singer who looks exactly as one would visualize a hero from Gothic Spain."[27] The performance also marked the opening of the City Opera's new home atLincoln Center.[28]
Domingo first sang Mario Cavaradossi in Puccini'sTosca in a 1961 performance in Mexico City.[30] He sang Cavaradossi at the Met on 15 February 1969 with Nilsson (broadcast). 1971 he made his Covent Garden debut in the role. He continued to sing the part for many years, especially at the Met and in Vienna, eventually performing it more than any other of his roles.[31] In September 1975, Domingo debuted in the title role of Verdi'sOtello at theHamburg State Opera. It soon became his signature role and one of operas he performed most frequently (over 200 times).[32] He recorded the part three times in the studio and appeared in four officially released filmed versions of the opera. Oscar-winning Shakespearean actor,Laurence Olivier, declared after seeing the tenor in the role: "Domingo plays Othello as well as I doand he has that voice."[33]
Domingo has also conducted operas and occasionally symphony orchestras as well. On 7 October 1973 he conducted his first opera performance,La traviata starringPatricia Brooks at the New York City Opera. The same year he released his debut album as a conductor,Domingo Conducts Milnes/Milnes Conducts Domingo, with baritoneSherrill Milnes. Domingo increasingly began to appear as a conductor at major opera houses around the world. In late 1983, he led a performance ofJohan Strauss'sDie Fledermaus at Covent Garden, which was televised. Three years later, he made a studio recording of theoperetta, in which he both conducted and sang the role of Alfred.
The 1980s were a time of growing success and fame for Domingo. In 1981 he gained considerable recognition outside of the opera world when he recorded the song "Perhaps Love" as a duet with the Americancountry/folk music singerJohn Denver. He followed this success with many more albums of popular and Latin music. Domingo expressed the hope that his popular albums would expand his fan base in a way that would eventually lead more people to discover opera.[34] These forays outside of the opera world led to numerous television appearances for the tenor, who was no longer known only by classical music lovers. In 1987, he and Denver joinedJulie Andrews for anEmmy Award-winning holiday television special,The Sound of Christmas, filmed in Salzburg, Austria. He was interviewed on many talk shows and news programs, includingThe Tonight Show withJohnny Carson and60 Minutes. Increasingly substantial numbers of his operatic performances were also shown on television during the 1980s.
After gaining experience acting for the cameras in numerous televised operas, Domingo performed in his first cinematically released opera movie,La Traviata, in 1982. He had worked with the film's director, former Academy Award nomineeFranco Zeffirelli, previously in staged opera productions. Even as filming continued in Rome, he commuted back and forth to perform live in Vienna, Buenos Aires, Barcelona, and Madrid.[35] In 1984, Domingo filmed the role of Don José inFrancesco Rosi's movie version ofCarmen in his native Spain.[36] Zeffirelli reunited with the tenor two years later for another version of an opera,Otello, that ran in movie theaters worldwide. Domingo consideredCarmen the best of the three, although he disagreed with the director's "low conception" of his character. He foundLa traviata to be "impressive", but expressed displeasure over cuts to the music in Zeffirelli'sOtello.[37]
Even while diversifying his career, he continued to appear with great frequency in largely well-received operatic performances. By 1982Newsweek declared Domingo "King Of The Opera" on its cover. The magazine's featured article, which recounted and analyzed his career, praised the singer for his "heroic voice, superb musicianship, fine acting skills and dashing Latin good looks".[33] That same year, Domingo appeared at the Metropolitan Opera's opening night performance ofBellini'sNorma. It was the first time onstage that the tenor sang the part of Pollione, one of his rare excursions into thebel canto repertory. He was also set to open the Met's 1983-1984 centennial season debuting as Enée in a well publicized new production ofBerlioz'Les Troyens, but a couple months in advance expressed uncertainty whether he could successful sing the role's high tessitura without harming his voice.[38] He asked to be released from his contract, but eventually decided to sing four of the six performances in the run with his friendJames Levine conducting,[38] including one performance that was telecast.[39] He never sang the part again.[40]
During rehearsals forLes Troyens, Domingo rescued the opening night of theSan Francisco Opera's season. The tenor scheduled to sing Otello,Carlo Cossutta, cancelled on the day of the performance. The company asked Domingo to replace him at 4 p.m. He quickly flew from New York to San Francisco, rushed to the opera house, and appeared in the role at 10:30 in the evening. A writer for theSan Francisco Chronicle, among other journalists, reported extensively on the event. He observed the crowds gathering around the stage door for the tenor's arrival and remarked on how most of the waiting audience members "were breathless over the chance to see Placido Domingo, a star who draws the kind of rapt devotion thatMick Jagger inspires among rock fans."[41]
For the opening night of the following Met season, Domingo returned to the role of Wagner'sLohengrin, which he had last sung in early 1968. He had originally dropped the role from his repertoire after he felt his voice had been temporarily damaged by learning the challenging opera.The New York Times noted that the now more mature artist "lacked the chrome-plated, penetrating quality that one associates with German tenors", but praised him for bringing "an unusuallegato grace to a role that is seldom sung so beautifully".[42] He also performed the role at the Vienna State Opera in 1985 and 1990. A performance during his last run of the opera was televised on 28 January 1990 and later released on VHS and DVD. He had just recovered from the flu at the time.[43]
On 19 September 1985 thebiggest earthquake in Mexico's history devastated part of the Mexican capital. Domingo's aunt, uncle, nephew and his nephew's young son were killed in the collapse of the Nuevo León apartment block in theTlatelolco housing complex. Cancelling several performances, Domingo himself labored to rescue survivors. During the next year, he performedbenefit concerts for the victims and released an album of one of the events. Also in 1986 he appeared in a special gala concert forQueen Elizabeth II and in the world premiere ofGoya, an opera thatGian Carlo Menotti composed specifically for him. Domingo had encouraged Menotti to make the opera about the Spanish painterFrancisco Goya, whose life fascinated the singer.
Domingo with American opera singer Stacey Robinson in 1994
Since the 1990s Domingo has continued adding new roles to his growing repertoire, while dropping earlier parts. The 1990s were the start of rapid change in the types of roles the tenor performed. During this decade he sang his last Cavaradossi, Don Carlo, Don José,Gustavo/Riccardo, Hoffmann, andAlvaro, among others, and he began instead to expand the breadth of his roles more substantially beyond the standard Italian and French repertory (Berlioz'sRequiem in 1979). In particular, he increased his involvement inWagnerian operas. Although he had already sungLohengrin and recorded a few operas by the composer, he did not perform any of Wagner's works frequently onstage until he debuted asParsifal in 1991 andSiegmund in 1992. He continued to sing these roles for almost two decades, including at theBayreuth Festival.
For the first time in over three decades, Domingo debuted in aMozart opera,Idomeneo, in 1994 at the Met. During the nineties, he also appeared in the early Verdi opera,Stiffelio, the BrazilianIl Guarany, and theFrench grand operas,Hérodiade andLe prophète, all of which are rarely performed. Toward the end of the decade, he added his first Russian-language opera,Tchaikovsky'sThe Queen of Spades (although he had performedEugene Onegin in translation while in Israel early in his career).
In the 2000s, he sang his last performances of some of the most successful operas from early in his career:Andrea Chénier,Samson et Dalila,Otello,La fanciulla del West,Fedora,Pagliacci, andAdriana Lecouvreur. In the twenty-first century, however, he has focused mostly on new roles. Early in the 2000s he sang the role of Arrigo in two concert performances of Verdi's rareLa battaglia di Legnano and debuted inWolf-Ferrari'sSly, an opera that his Three Tenors colleague José Carreras had recently revived from obscurity. Domingo himself worked to popularizeFranco Alfano's infrequently performedCyrano de Bergerac a few years later. Shifting musical styles again, he appeared in the eighteenth-century operasIphigénie en Tauride andTamerlano late in the decade.
Giving him greater international recognition outside of the world of opera, Domingo participated inThe Three Tenors concert on the eve of the1990 FIFA World Cup final in Rome withJosé Carreras andLuciano Pavarotti. The event was originally conceived to raise money for the José Carreras International Leukemia Foundation and was later repeated a number of times, including at the three subsequent World Cup finals (1994 in Los Angeles,1998 in Paris, and2002 in Yokohama). The recording of their first appearance together,Carreras Domingo Pavarotti in Concert, went multi-platinum with sales in excess of three million in the United States alone,[45] eventually outselling every previous classical album worldwide.[8][9] Domingo and his colleagues won theGrammy Award for Best Classical Vocal Solo for the album. Four years after their first successful concert, around 1.3 billion viewers worldwide watched their televised second World Cup performance atDodger Stadium.[46] The recording of that event,The Three Tenors in Concert 1994, went platinum and multi-platinum in many countries, even reaching the number one spot on theUK Albums Chart.[47] Without Pavarotti and Carreras, Domingo made an appearance at the2006 FIFA World Cup Final in Berlin, along with rising starsAnna Netrebko andRolando Villazón. Before the2014 FIFA World Cup final, he performed inRio de Janeiro with pianistLang Lang and sopranoAna María Martínez, a winner of his Operalia competition and a frequent singing partner of his.[48] In addition to these large-scale concerts, Domingo recorded theofficial song for the1982 FIFA World Cup in Spain, "El Mundial".
A lifelongfootball fan, Domingo has been a vocal supporter ofReal Madrid C.F., his home-town team. In 2002, he performed the club's new commemorative anthem, "Himno del Centenario del Real Madrid". It was written byJosé María Cano, with whom he had previously collaborated on the opera,Luna. Domingo presented the song live at the Bernabeu Stadium during celebrations of the football club's 100 year anniversary. On 13 May 2012, Domingo performed during Real Madrid's season-ending celebrations, when the team won their 32nd Spanish league title. In 2016 he sang the new version of Real Madrid's "Hala Madrid y nada más" with "...Y Nada Mas."
Domingo as the president ofEuropa Nostra at the organization's awards ceremony in 2014
In 2002, he made a guest appearance on the song "Novus", the closing track onSantana's albumShaman. Domingo sang beforeBenedict XVI, during the pope's visit toNationals Park and the Italian embassy in Washington, D.C., on 16 and 17 April 2008. On 15 March 2009, the Metropolitan Opera paid tribute to Domingo's 40th and the company's 125th anniversaries with a gala performance and onstage dinner.[53] On 29 August 2009, he sang "Panis angelicus" at the funeral mass ofSenator Ted Kennedy in the Basilica of Our Lady of Perpetual Help inBoston, Massachusetts.[54] In March 2011, Domingo cancelled an engagement in Buenos Aires at theTeatro Colón in support of the theatre's musicians, who were on strike.[55]
Domingo began an affiliation with theWashington National Opera in 1986, when he appeared in its world premiere production of Menotti'sGoya. This was followed by performances in a production ofTosca in the 1988/89 season. Beginning in the 1996/97 season, he took on the role of Artistic Director, bringing new life to the company's productions through his many connections to singers throughout the world and his own annual appearances in one role each season.[56] One example of his ability to bring new singers to the stage were those by the then up-and-comingAnna Netrebko as Gilda inRigoletto during the 1999/2000 season. In 2003 Domingo became General Director and his contract was extended through the 2010–2011 season.
Parallel to Domingo's management of the Washington company, he had been Artistic Director of theLos Angeles Opera since 2000. He assumed the position of General Director of the company in 2003. On 20 September 2010, he announced that he would renew his contract as General Director through 2013.[57] A week later he announced that he would not renew his contract as General Director of the Washington National Opera beyond its June 2011 expiration date. Reaction to this includedThe Washington Post's comments on his accomplishments:
Domingo's goal was to make the WNO an internationally regarded company. At the beginning of his tenure, he lifted the opera to a new level, bringing in more international stars and big-name productions – including José Carreras in Wolf-Ferrari'sSly, Mirella Freni singing opposite Domingo inFedora, and Renée Fleming inLucrezia Borgia. And his commitment to American opera meant that the WNO presented the second or third productions of a number of important works: Maw'sSophie's Choice, Bolcom'sA View From the Bridge, Previn'sA Streetcar Named Desire.[58]
Domingo attempted to quash criticism in East Coast newspapers that he was taking on too much when the singer gave an interview in theLos Angeles Times in which he restated his long-time motto, "When I rest, I rust".[59]
In October 2019, Domingo resigned as general director of the Los Angeles Opera amid accusations of sexual harassment.[11]
Domingo announced in 2007 that two years later he would take on one ofVerdi's most demanding baritone roles, singing the title role inSimon Boccanegra. His debut performance in the part occurred at the Berlin State Opera on 24 October, followed by 29 other performances during the 2009–2010 season at major opera houses around the world, including the Met and theRoyal Opera House in London.[60]
After the success of Boccanegra, Domingo has performed other baritone roles including the character of Rigoletto inVerdi'sRigoletto in August 2010 at Reignwood Theatre in Beijing. In March 2012, for the first time he sang the baritone role of the Cenobite monk Athanaël inMassenet'sThaïs, his 139th role. Again, in 2011 he undertook the role of Rigoletto in a live television broadcast in Europe which was shot in real locations inMantua.
He appeared as Doge Francesco Foscari in Verdi'sI due Foscari in a production directed byThaddeus Strassberger for the Los Angeles Opera in September 2012, in Valencia in early 2013, and at Covent Garden in late 2014. In March 2013, at theMetropolitan Opera, he appeared for the first time as Giorgio Germont in Verdi'sLa Traviata.[61] The following year, he sang Giacomo in Verdi'sGiovanna d'Arco in Salzburg. Later in 2014, he debuted as the Conte di Luna inIl trovatore in Berlin. The following season, he sang di Luna again at the Salzburg Festival withAnna Netrebko as Leonora,Marie-Nicole Lemieux as Azucena andFrancesco Meli as Manrico. He first sang the title role of Verdi'sNabucco at Covent Garden in March–April 2013[62][63] and has since reprised it inSaint Petersburg,[64]Beijing,Verona,[65] andVienna. In 2015, he made his debut in the title role of Verdi'sMacbeth in Berlin, as well as Don Carlo inErnani in New York and the title role ofGianni Schicchi in Los Angeles.[66]
Domingo was born toPlácido Francisco Domingo Ferrer (8 March 1907 – 22 November 1987)[67] andJosefa "Pepita" Embil Echániz (28 February 1918 – 28 August 1994),[68] two Spanishzarzuela stars who nurtured his early musical abilities. Domingo's father was halfAragonese and halfCatalan, while his mother was aBasque fromGipuzkoa. His father began as a violinist performing for opera andzarzuela orchestras. He soon also took on baritone roles in zarzuelas. Even though he damaged his voice by performing while suffering from a cold, he continued singing into the 1970s. Domingo's mother was an established soprano who made her stage debut at theGran Teatre del Liceu in Barcelona. She met her husband at age 21 while performing inFederico Moreno Torroba'sSor Navarra. Domingo later recalled that experts encouraged his father to sing Wagnerianheldentenor roles, while the Liceu offered his mother a contract to sing opera.[69] In 1946 Moreno Torroba and Domingo's parents formed a zarzuela company and toured in Latin America. His parents later stayed permanently in Mexico and established their own zarzuela troupe, the Domingo-Embil Company.[70] In addition to their son, they also had a daughter, Maria José "Mari Pepa" Domingo de Fernandez (1942–2015).
Domingo with his wife
On 29 August 1957 at age 16, Domingo married a fellow piano student, Ana María Guerra Cué (1938–2006). Their son, José Plácido Domingo Guerra (called "Pepe" as a boy and later "Joe"), now a photographer,[71] was born on 16 June 1958.[72] However, the marriage did not last long, with the couple separating shortly thereafter. On 1 August 1962, Domingo marriedMarta Ornelas (born 1935), a lyricsoprano fromVeracruz, Mexico, whom he met during his conservatory days.[73] In the same year, Marta had been voted "Mexican Singer of the Year". After their wedding, the couple performed together frequently at the Israel National Opera. However, after she became pregnant with her first child, she gave up her promising career to devote time to her family. They have two sons, Plácido Francisco (known asPlácido Domingo Jr.), born 21 October 1965, and Alvaro Maurizio, born 11 October 1968.
After a period of time living in Israel, Domingo and his growing family moved toTeaneck, New Jersey, in the 1960s.[74][75][76] He later acquired residences in Manhattan and Barcelona. Keeping his apartment in New York, he currently also has a house in his native Madrid. During breaks in his work schedule, he usually spends time with family at his vacation home inAcapulco, Mexico.[77][78]
In March 2010 he underwent surgery forcolon cancer.[79] In July 2013, he was admitted to a hospital in Madrid after suffering apulmonary embolism.[80] He was released on 14 July, and was "expected to make a full recovery".[81] In October 2015, he was admitted to a hospital for acholecystectomy and missed the first five performances ofTosca he was supposed to conduct at the Metropolitan Opera.[82][83]
In August 2019, Domingo was accused ofsexual harassment by multiple female colleagues, some dating back as far as 30 years. However, no official charges were ever filed, nor were there any court proceedings or convictions. Nonetheless, Domingo subsequently resigned from his position as general manager of the Los Angeles Opera, saying he did so with a "heavy heart", but in light of the recent allegations against him, he said the move was in the best interest for the opera company.[84]
In late February 2020, Domingo apologized to any colleagues who felt uncomfortable or in any way hurt by his comments or actions. He reiterated that it was never his intention to hurt or offend anyone, saying, "I have never behaved aggressively toward anyone, and I have never done anything to hinder or harm anyone's career in any way. On the contrary, I have spent much of my half-century in the opera world supporting the industry and furthering the careers of countless singers."[85]
The investigation launched by the Los Angeles Opera into the incidents at the house "deemed the allegations to be credible, in part because of the similarities in their accounts". The investigation "often found him to be sincere in his denials but found some of them to be less credible or lacking in awareness". However,Gibson Dunn "found no evidence that Mr. Domingo ever engaged in a quid pro quo or retaliated against any woman by not casting or otherwise hiring her at LA Opera, especially since casting and other hiring decisions are complex, performance-specific and determined by multiple people."[86] The investigation criticized inadequate communication and lack of awareness about sexual harassment at the opera.[87]
In his first interview since recovering fromCOVID-19, Domingo told the Italian newspaperLa Repubblica that the charges were false. "When I knew that I had COVID, I promised myself that if I came out alive, I would fight to clear my name", Domingo said. "I never abused anyone. I will repeat that as long as I live."[88]
Domingo has made over 200recordings, most of which are full-length operas; he has recorded nearly all of opera's leading tenor roles, several of them more than once. As a teenager, he first appeared in very small parts on the Spanish-languageoriginal cast versions of the musicalsMy Fair Lady (1959) andRedhead (1960). In 1968, he released his first solo album,Recital of Italian Operatic Arias (also known asBel Canto Domingo). The album, conducted byNello Santi, received theGrand Prix du Disque. In 1969, Domingo's first recital album forRCA Red Seal was issued, and he recorded his first complete opera in the studio,Il trovatore, withLeontyne Price andSherrill Milnes also for RCA, which would be his primary record label throughout the entire 1970s; RCA recorded Domingo, Milnes and Price together several more times, both in complete operas and recital discs. Domingo followedIl trovatore with a steady stream of complete recorded operas from the 1970s through the early years of the next century. Starting withIl tabarro in 1970,Les Troyens 1983 and ending withEdgar in 2006, Domingo has recorded all of Puccini's operatic roles for tenor. Among his albums is a box set of every major tenor ariaVerdi composed, including several obscure and rarely performed versions in languages different from the original operas, and written only for specific performances. He has also recorded the vocal parts in many symphonic works and has conducted on some of his albums.[citation needed]
In August 2005, EMI Classics released a highly anticipated and publicized studio recording ofRichard Wagner'sTristan und Isolde, in which Domingo and Operalia winnerNina Stemme sang the title roles. A review, headlined "Vocal perfections", in the 8 August 2005 issue ofThe Economist called the recording "monumental" and praised it for having "a musical lyricism and a sexual passion that make the cost and the effort entirely worthwhile". The review also characterized Domingo's July 2005 performance of Siegmund in Wagner'sDie Walküre at Covent Garden as "unforgettable" and "luminous". More recently Domingo has appeared withAngela Gheorghiu on a recording ofFedora, an opera in which he often appeared onstage, and as the baritone in a live version ofGiovanna d'Arco with Anna Netrebko. In September 2011, aged 70, he signed an exclusive record contract with Sony Classics.[89]
Since the early 1980s, Domingo has released severalLatin albums, including two featuring the music of Mexican songwriter,Agustín Lara. He devoted two more of his albums,Adoro (1982) and100 años de Mariachi (1999), solely to Mexican music.100 años de Mariachi, arancheras collection, went platinum in the United States and gold in Mexico.[90][93] He later recalled that, as a fan ofmariachi music since boyhood, the Grammy he won for100 años de Mariachi was the award that meant the most to him of all he has received.[94]
Over the course of decades, he has sung in numerousLive from the Metropolitan Opera telecasts andMet radio broadcasts. He has also appeared often in televised performances from other opera houses. In 1978, he starred in the La Scala production of Puccini'sManon Lescaut that marked the house debut of Hungarian sopranoSylvia Sass. In addition, many of his concerts andzarzuela evenings have been televised. Beyond his filmed opera and concert performances, he has frequently made guest appearances on television. Domingo appeared onThe Cosby Show Season 5 as Alberto Santiago, a colleague of Dr. Cliff Huxtable.[95] In 1989, the international television seriesReturn Journey featured Domingo returning to his home city of Madrid reflecting on life there whilst recording an album of Zarzuela arias for EMI. On the1993 Academy Awards telecast, he performed the song, "Beautiful Maria of My Soul," from the movieThe Mambo Kings, which had received a nomination forBest Original Song. The tenor was the first Spaniard to perform at anAcademy Awards ceremony. He had previously presented the Oscar forBest Foreign Language Film withFaye Dunaway at the57th Academy Awards in 1985.
Domingo was the executive producer of the critically acclaimed 1998Mexican filmThe Other Conquest, produced by his son Alvaro and directed by Salvador Carrasco, in which Domingo also sang the original aria "Mater Aeterna", composed by Samuel Zyman with lyrics by Carrasco. He was also heard performing the song "In Pace", during theclosing credits ofKenneth Branagh'sHamlet (1996). In 2008, Domingoprovided the voice of the long-haired Chihuahua named Montezuma inDisney'sBeverly Hills Chihuahua. He also appeared as Manolo's great-grandfather in the animated filmThe Book of Life in 2014.
In December 1992, Domingo collaborated with fellow operatic tenor and friend José Carreras and pop music legendDiana Ross in a televised Christmas-themed concert.Vienna was chosen to host the event due to its reputation as a capital of music and the particular charm of Austria during Christmas time. TheWiener Symphoniker under the direction of maestroVjekoslav Šutej provided the orchestral music, and the Gumpoldskirchen Children's Choir provided choral vocals. On 23 December 1992, the first in what would turn out to be a series ofChristmas in Vienna concerts was seen worldwide by several hundred million people. Plácido Domingo returned to Vienna for many moreChristmas in Vienna concerts, performing with stars and friends of both pop and classical music, includingDionne Warwick,Charles Aznavour,Sissel Kyrkjebø,Michael Bolton,Sarah Brightman,Charlotte Church,Natalie Cole,Riccardo Cocciante,Patricia Kaas,Luciano Pavarotti,Tony Bennett and others.
By the 1980s and 1990s,popular cultural forms, especially television programs, began to reference Domingo, often as a prototypical opera singer or as part of the influential Three Tenors.[96] In 1987Sesame Street, a U.S. children's television show that has been on the air since 1969, introduced a puppet character named after Domingo. In the series,Placido Flamingo was a pink singing bird who appeared regularly on "Live from the Nest" (a play on "Live from the Met") telecasts from the Nestropolitan Opera. In the 1989 special "Sesame Street... 20 Years & Still Counting", Domingo appeared with his namesake puppet, singing "Look through the Window" together.[97] The show never revived the character after the puppeteer,Richard Hunt, who provided the voice for Placido Flamingo, died in early 1992.[98] Similarly, in the 2009 Australian-Canadian cartoon comedyPearlie, the father of a family of opera singing fleas is named Placido. Although not opera related, one of the Three Emperors (a take-off on the Three Tenors) in the original Japanese version of theanime series,Yu-Gi-Oh! 5D's (2008-2011), is also named after the singer.
In 2007, Domingo had acameo role onThe Simpsons, the longest running American scripted prime time television series and winner of over thirtyEmmy Awards. He provided the voice for an animated version of himself in the episode "The Homer of Seville", which revolves aroundHomer Simpson becoming an opera singer. After an opera performance, Homer chats with Domingo, who tells him to call him "P. Dingo" (a play on "P. Diddy") and asks him for singing advice. Although not providing voice-overs, he was also an animated character in a 1995 episode ("Three Tenors and You're Out") of theWarner Brothers children's cartoon,Animaniacs, and a 1999 episode ("Censoring Problems: The Three Stooges vs. The Three Tenors") ofMTV's violent comedy,Celebrity Deathmatch.
Domingo, along with Luciano Pavarotti and José Carreras, loosely inspired the 2001 biting English-language film,Off Key, by Spanish directorManuel Gómez Pereira.[99][100] The movie's leading character, Ricardo Palacios (played byJoe Mantegna), is a Spanish tenor with vague ties to Mexico, who plays the piano, conducts, seeks celebrity outside of the opera world, and is proud of his Otello. Like Domingo, he discovers new operatic talents, sings duets with pop singers, and performs mariachi music and tangos. The farcical plot, however, has nothing in common with actual occurrences in the lives of Domingo or his colleagues.[100] The movie was the most expensive production in Spain's cinematic history to that point.[101]
American authorElizabeth George references Domingo in one of her series of mystery novels about the fictional Inspector Lynley,This Body of Death (2010). In the book, Meredith's young daughter is an enthusiastic fan of Plácido Domingo and has the detective read to her from anunauthorized biography of the singer. The real-life Domingo was also mentioned as part of a running gag on the 1996Seinfeld episode, "The Doll".Seinfeld was the second highest rated series on U.S. television at the time. He was also referenced several times throughout the sitcom seriesEverybody Loves Raymond as Raymond's mother, Marie's, favorite opera singer. In addition, the tenor has appeared on the cover of several opera-related books, as a key representative of the musical genre. Such mainstream allusions to Domingo illustrate his atypically widespread fame and cultural influence as an opera singer. His integration both as an actual performer and as an "image" into popular as well ashigh culture was so significant by 2011, Spanish author Rubén Amón wrote a book,Plácido Domingo: Un coloso en el teatro del mundo, specifically analyzing the singer as a cultural and sociological phenomenon.[96][102]
After taking on baritone roles, he sang Conte Di Luna inIl Trovatore, an opera in which he previously performed as Manrico, a tenor role. His last major role in a full-length opera was in the title role ofNabucco in the production byThaddeus Strassberger in December 2019 in Valencia. During the curtain call many supporters of the singer showed support by dropping flyers in support of the singer.[103]
Plácido Domingo has received many awards and honors for his achievement in the field of music and in recognition of his many benefit concerts and contributions to various charities. In 1978, when Domingo was only 37, the city of Madrid dedicated a commemorative plaque at his birthplace at 34 Calle Ibiza near theBuen Retiro Park.[12]
In 2012, Domingo was voted intoGramophone's first Hall of Fame.[108]
In April 2014, Domingo was awarded an Honorary Doctorate of Music degree byBerklee College of Music at its campus in Valencia, Spain. During his acceptance speech, Domingo said, "it is a great pleasure to have a connection between Boston and Valencia since both have been so important in my career." Domingo sang Handel's Messiah with the Boston Symphony Orchestra at the beginning of his career, and performed his firstBohéme at the Palau de les Arts.[109]
Statue of Domingo in Mexico City in recognition of his contributions to1985 Mexico City earthquake victims and his artistic works
Domingo at the 30 year commemoration of the 1985 Mexico City earthquake
Domingo has been heavily involved in humanitarian efforts and volunteerism. He has given many benefit concerts for disaster relief, charities, and musical organizations, as well as served in various voluntary positions in the artistic and sports worlds. In 1986, Domingo performed at severalbenefit concerts to raise funds for the victims of the1985 Mexico City earthquake. He also released an album of one of the events for charity. On 21 August 2007, in recognition of his support of the earthquake victims, as well as his artistic works, a statue in his honor was unveiled. It was made in Mexico City from keys donated by the people. The statue, the work of Alejandra Zúñiga, is two meters tall, weighs about 300 kg (660 lbs) and is part of the "Grandes valores" (Great values) program.[110][111]
Since the earthquake, Domingo has continued to do charitable work in Mexico and other countries. AfterHurricane Pauline ravaged thePacific coast of Southern Mexico in 1997, he gave two charity concerts in Acapulco to raise money to build 150 new houses for those made homeless by the storm.[112] In December 2003, he performed in Cancún to benefit the Ciudad de la Alegria Foundation, which provides assistance and lodging to people in need, including low-income individuals, orphans, expectant mothers, immigrants, rehabilitated legal offenders, and the terminally ill.[113] Outside of Mexico, Domingo andKatherine Jenkins performed in a charity concert inAthens on 27 June 2007 to raise funds to aid victims of the conflict inDarfur. The concert was organized byMédecins Sans Frontières (Doctors Without Borders).
On 4 March 2006, Domingo sang at theNew Orleans Opera Association's Gala Benefit Concert, "A Night For New Orleans", to help rebuild the city after it was partially destroyed byHurricane Katrina. Before the gala, he made the encouraging statement: "MUSIC IS THE VOICE OF HOPE!".[114] Operalia winnerElizabeth Futral and several other popular opera singers appeared with the tenor. The Gala collected $700,000 for the city recovery fund.[115] On 23 March 2008, the New Orleans City Council named the city theatre's stage in theMahalia Jackson Theatre inLouis Armstrong Park the "Plácido Domingo stage", in honour of his contribution at the Gala Benefits Concert.[115] Early the following year, Domingo performed with the New Orleans Opera in a gala reopening the theatre. At the time he told the press, "The restoration of New Orleans' Mahalia Jackson Theater is a symbol of new life for the city following the devastation of 2005, but inthese difficult economic times, it is also a symbol of hope and faith in the future on the part of a forward-looking artistic organization."[116]
In June 2010 Domingo became President ofEuropa Nostra, the Voice of Cultural Heritage in Europe, which helps to promote European high culture.[117] The following year,FIFA president Sepp Blatter invited Domingo to join a council intended to clean up the football governing body, which had been accused of taking bribes from countries that wanted to stage the World Cup.[118] Domingo has also supported environmental efforts. In 2007, he joined several other preeminent figures in entertainment, government, the environment and more, as one of the users of theBMW Hydrogen 7, designed to build support for hydrogen as a viable alternative to fossil fuels.[119] Domingo also supports the Hear the World initiative as an ambassador to raise awareness for the topic of hearing and hearing loss.[120]
Domingo with young Operalia singers, Budapest, 2016
Domingo has especially tried to aid the development of young opera singers' careers. In 1993 he foundedOperalia, The World Opera Competition, an international opera competition for talented young singers. The winners get the opportunity to be employed in opera ensembles around the world.[121]
Beyond Operalia, Domingo has been instrumental in giving many young artists encouragement and special attention, as in 2001, when he invited the so-called "Singing Policeman", New York tenorDaniel Rodríguez, to attend the Vilar-Domingo Young Artists program to develop his operatic skills.
In addition to the Vilar-Domingo Young Artists Program in Washington, D.C., Domingo has also started programs to train young opera singers at the Los Angeles Opera and thePalau de les Arts Reina Sofia inValencia, Spain.
In September 2016, he performed at a Los Angeles benefit for the Esperanza Azteca Los Angeles Youth Orchestra supporting young musicians from the Los Angeles area.[124]
^Macy, Laura Williams (2008).The Grove Book of Opera Singers. Oxford University Press. pp. 127–8.ISBN978-0195337655.
^Matheopoulos & Domingo 2003, p. 19: "Otello is a dramatic part and Domingo a lirico spinto tenor. But from the beginning it was clear that this was an ideal role for him..."
^abClassical Music Magazine, volume 17, p. 39 (1994). "And then there's the three tenors phenomenon: The London recording from the 1990 concert became the biggest-selling classical album of all time, having now topped 10-million units throughout the world."
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