Sun. Jan 19th, 2020

Placido Domingo grabs Europe and Nabucco

It will be tomorrow when Plácido Domingo returns to the stage of an opera house. The city is Zurich and the title chosen is "Nabucco" by Verdi, with tickets sold out for weeks. The artist decided not to release on September 25 "Macbeth", who was going to sing in the Metropolitan of New York, because 24 hours before the premiere made the decision, hard, perhaps induced, to move away from the colosseum forever before the tense atmosphere that He had generated his presence among the theater staff. It was his first goodbye to the United States. The second came a few days ago, when he decided to close the door on October 2 of the Los Angeles Opera, of which he was general director since 2003 and where he was going to sing in 2020. He said goodbye to both theaters and said closing a stage full of success.

Sunday will be Nabucco. The United States, where it has turned its back without even waiting for the investigation opened by the Los Angeles Opera, is already hostile territory for the teacher. Europe, since the allegations of alleged sexual harassment were known in August (of the 20 that was collected by the Associated Press agency only two had a name and surname, that of a soprano and a mezzo currently withdrawn from the scenarios) has not hesitated at the time of keeping the planned calendar. On August 25 he sang “Luisa Miller” in concert version, with the only company of a lectern in front. He received cheers and brave and part of the audience cheered him standing. In the Verdian title he will do it in a staged version with the singers Otar Jorjikia, Vitalij Kowaljow, Okasana Dyka and Veronica Simeoni, under the baton of maestro Fabio Luisi. From the Swiss theater, and according to information collected by Europa Press, the presumption of innocence is respected and ensures “not having received any unfavorable internal report to the presence of the artist”, in addition to “it has not been condemned by any court” because the Responsible investigations "are still ongoing."

Since the denunciations went to the media, the now baritone has issued a couple of communications. And he has preferred to keep a low profile and keep, following the advice of his environment, keep silent. Domingo was dejected, but did not speak in public. He said goodbye through two communiqués that showed a deep grief. The only time he has spoken at this time was days ago when he met the sudden death of tenor Marcello Giordani, with whom he shared titles.

The accessions by his peers in the world of opera have not ceased since last August. One of the latter has a woman's name and has been starred by the Portuguese soprano Elisabete Matos, since September, artistic director of the San Carlos National Theater, which stands in the center of Lisbon. In an interview with a media outlet in the neighboring country, she stated that she had agreed on the production of Massenet's “El Cid” that was seen at the Washington Opera in the 1999-2000 season and in which Angela Turner Wilson denounced that Domingo had touched her breasts while they put on makeup in her dressing room.

Matos reveals that he never observed strange behavior in the artist, whom he admires, knows and considers a huge professional. “First of all, I don't like to meddle in aspects of other people's private life. I can only talk about my experience, what I have lived and (Domingo) was always a gentleman with me, a very generous person who treated me and helped me with the greatest respect. We live in a supposedly democratic world where there is a presumption of innocence and public trials that are not made in the right place always bring more negative situations than positive ones. I think he is, was and will continue to be a great artist and I hope with all my heart and affection for him as a colleague and person who at some point admired my work and invited me on several occasions. that all this will eventually be resolved and clarified. ” On the indictment of Turner-Wilson, he states that “Each case is individual, but there are things that I find it hard to believe. I will not judge the other party who complains about a situation that was not correct. But I doubt it. The person I know is not like that. But I insist, the trials should not be made in the public square, but in places of law, with evidence and always respecting the presumption of innocence. ”

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