Hi Fran! Love the blog! Why do you hate Placid…

Hi Fran! Love the blog! Why do you hate Placido Domingo so much? He is muy fantastico! 🙂

First of all, my name isnt  “fran” – how dare you?

Second of all, and I’m going to vent for a while on this, Placido domingo is not a tenor. He is not even an opera singer. he just fakes his way through everything and now the standard is so low absolute morons like jonas kaufmann think that they can become famous just cos they take their shirts off on stage (tbqh tho kaufmann has a better voice). There will be no opera in 20 years, thanks to people like him. 

From a technical pov, Domingo has no high C, no high register. as evidenced by the fact that he transposes pieces down, ex: his di quella pira on youtube… He is supposed to sing two consecutive high C’s at the end. instead he sings ONE FLAT B. But no one would know because domingo is so *famous* no one bothers to listen to REAL TENORS like corelli or bergonzi or bonisoli, etc. Contrast that lame B to when Domingo actually attempts to sing the C in this video. It is horrific, embarrassing, unacceptable. But ya know, people clapped like idiots because (and this is obvious) people in the audience were paid to clap (which is common). Paid by whom?? … hmmm. And if you think that you can be a tenor without having a solid high C, then you know nothing about the human voice. Every other good tenor of the 20th century (AND good modern tenors like Alagna) sing the damn C. 

Why can’t he? Because he is a fake. 

From an artistic/stylistic point of view, he is a pathetic actor. He omits notes – I’ve seen him just not sing notes in a performance (ex: in the ernani from teatro alla scala…he just doesn’t sing the end note of the first scene…), he goes flat constantly and when he doesn’t he is pathetically weak. He wanders around the stage like he has no idea what he is saying or what is going on. 

The only reason why he is famous and people like him is because he is a genius at MARKETING HIMSELF. He is not a great tenor, he is a great snake oil salesman. 

Placido domingo is the biggest lie of opera… and he has ruined opera for this generation, because he made it so that no one cares anymore about the art just about the image. Him and his stupid plebeian good looks in his stupid film versions of opera where transposes everything down. All people care about is these stupid *star* singers who style themselves like domingo and callas, and no one cares about the art anymore because … there is none of it left! all young singers just want to be the opera equivalent of pop stars. Ghiaurov and Vickers said as much…

No one even knows what is good anymore because Domingo has so pushed himself and his stupid idiot image forward. No art anymore, just mediocrity. The public doesn’t even know how to demand that high level from performers, as Ghiaurov and Vickers are saying, because all we have is images of art put forward by ppl like Domingo instead of a real art. So people nowadays are clapping for the absolutely mediocre modern opera singers because they just don’t know better. Thanks, Domingo. 

Someone commented on that version of di quella pira with the stecche originali and I could not possibly agree more 

“He raised mediocrity to a high art.” Preach, girl. 👏👏👏👏

So yea, I absolutely loathe him. And with good reason, – because of him an entire tradition which was one of the greatest things that human beings could accomplish is going into the garbage. Now opera is run by people who instead of training their voices and cultivating their art, are willing to basically engage in sex on stage, people who have sub-par voices and sub-par morals to go with them, and actual pedophiles and degenerates who are exploiting the industry. 

In 20 years, there will be no opera because the standard is so low, it becomes mediocre – what ghiaruov said “the most boring thing you can see,” and people like domingo are to blame. 

To quote Alfredo Kraus: 

“It’s political thinking: if you give everything to the people, why not the culture too? OK, I say but watch out. Vulgarizing it doesn’t make it more popular. The problem is that people hear [The Three Tenors’ Concert at] Caracalla and say, ‘Now I’ve heard opera, I’m cultured’. Culture needs education.”

The Three Tenor’s album sold 7 million copies (1991), but by 1992 opera attendances in Britain decreased by circa 150,000 (from 1,148,000 to 998,000)

And so opera is reduced to what Kraus called "easy music for an easy public, a festive public that goes to a show to enjoy itself and may even be eating a sandwich while doing so.”