THANK YOU for sharing this with us! Considering the massive artistry of this very unique man, we need to not let his legacy disappear. All examples of his work needs to be preserved for the enjoyment and edification of all to come. I pray the adults at RU-vid management realize they can give this frat house a nice chandelier by stepping up to restore and curate historical works of art such that they are protected forever and are not hidden away from us in some pay per view vault.
Are there still decent humans who hear that who think "he started out a baritone"? Just because he identified with his baritone dad and at such a young age didn't dare to think he could sing high enough, he took himself to the Mexican National Opera as a baritone doesn't mean he was right. The Opera house spotted him as a tenor. That's why they asked him to sight read Amor ti vieta. Ok? They got it right. And the rest, as they say, is history. Thank God for the world.
@@xxsaruman82xx87 And you are the most overated phoney opera critic on the face of the planet. You are the King of speaking Tommy Rot. Your knowledge is negligible or worst, but you are clever at misleading the Gullible.
@@xxsaruman82xx87 yes, funny how he fooled all those gullible opera houses like La Scala, the Met, Vienna, Covent Garden, et al... for 30+ tenor years, and all the sheep who just kept buying tickets to hear him sing over and over again. Oh, and all the recording companies, too - risking all that money on such an overrated tenor! Sure he's been singing past his prime, but everyone knows that and everyone knows why. The crazy thing is that the man can still sing at all after all these years!
Yeas, he is a pop cheap crook. No top, no any operatic sounds. Its terrible. Young or later he is a dilettante. He reached his lvl, because of his lvl. Mosquito pavarati was too small and thats why he reached to cracked poor micro screamer. Its their reality, they are nobody in opera
@@xxsaruman82xx87 Franco Corelli was God, no question about it. But his personal demons were a significant liability to opera houses. They could only sometimes rely on him. When Corelli retired in the 1970s, most famous opera houses worldwide faced financial challenges. Donors/supporters would only fund operatic productions with reliable singers. With all his flaws, and there were many, Domingo would always be there. It was the reality then. I have seen him perform in the 1980s in Milano, Vienna, SF, and NY. He did not disappoint the audience, who wanted someone other than a complex-ridden or spoiled tenor. He did not deliver Corelli-like miracles that would transport you to a different world, but he made many people happy. We should respect it.
