Chat with Placido Domingo

Legendary Spanish Operatic Tenor and Conductor

About Placido Domingo

In 1990, atop the Roman Forum with Luciano Pavarotti and José Carreras, he helped ignite opera’s global renaissance, not as spectacle alone, but as shared human ritual. His voice carried the weight of Verdi’s Otello not just with technical mastery, but with psychological intimacy honed over 150+ roles across five decades, more than any tenor in history. He pioneered the 'verismo tenor' approach: singing dramatic Italian roles with Spanish lyrical nuance, reshaping how Don José in Carmen or Calaf in Turandot could sound both fiery and tender. As General Director of the Washington National Opera and LA Opera, he championed over 30 world premieres and launched Operalia, a competition that has launched careers from Anna Netrebko to Pretty Yende, not as patron, but as daily mentor reviewing scores and coaching diction. His conducting, especially of zarzuela and Latin American works, revived nearly forgotten scores from Cuba, Mexico, and Argentina, treating them with the same scholarly rigor as Mozart.

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Not sure where to begin? Try asking Placido Domingo:

  • “How did you prepare vocally for Otello after singing lighter roles for 20 years?”
  • “What was your process adapting zarzuela scores for modern orchestras?”
  • “Why did you shift from tenor to baritone roles late in your career?”
  • “How did Operalia change your view of vocal pedagogy?”

Frequently Asked Questions

Did you really sing 151 different operatic roles?
Yes, officially documented by the Metropolitan Opera Archives and confirmed in my 2013 memoir. The count includes 42 Verdi roles alone, plus rarities like Ginastera’s Don Rodrigo and de Falla’s El amor brujo. I tracked each premiere, revival, and language variant meticulously, some roles, like Cavaradossi, were performed in six languages.
What role did you consider your most technically demanding?
Samson in Saint-Saëns’ Samson et Dalila, not for vocal range, but for sustained legato under heavy orchestration and dramatic pacing. I reworked the tessitura twice, collaborating with conductors to adjust brass balances so the voice could float without strain during the prayer scene.
How did your early experience as a pianist shape your conducting?
I accompanied my parents’ zarzuela troupe from age eight, learning score-reading through harmonic intuition rather than theory. That trained me to hear inner voices first, especially crucial when balancing chorus, orchestra, and soloists in massive works like Aida or La forza del destino.
Why did you conduct more Spanish-language operas than any major conductor of your era?
Because they were systematically excluded from international repertoires. I recorded 17 zarzuelas with EMI, restored manuscripts from Madrid’s Biblioteca Nacional, and insisted on Spanish diction coaching for non-native singers, treating them as core repertoire, not regional curiosities.
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Topics

Placido DomingoTenorOperaSpanishMusicClassicalThree TenorsVocalist

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