es que voy a tener que cambiar el montaje, o sea los mismos elementos pero de otra manera __ creo que repescando de nuevo las repisas (no sé si a alguien pueda importarle este rollo) . . . J me hace llegar a Plácido Domingo tocando al piano y cantando Júrame, conmovedor en su estilo. ¿Cómo se puede decir correctamente? no sé, es algo como considerar a las propias emociones y sentimientos, hacerles espacio, dejar fluir… (y aceptar las emociones de los demás, que a veces a uno se le olvida, me estoy esforzando)

Spend Thanksgiving Night with WVPT and enjoy some GREAT Performance programs!

At 8pm tune-in for the new ‘Radio City Christmas Spectacular Starring The Rockettes”. This holiday special features numbers like legendary “Parade of the Wooden Soldiers” and thrill as Santa takes you on a magical ride to his workshop at the North Pole, where playful ragdolls come to life. Everyone marvels at the stunning reenactment of the first Christmas in the “Living Nativity”

Then at 9:30 you are sure to enjoy“The Three Tenors Christmas”, a holiday favorite with The Three Tenors, Jose Carreras, Placido Domingo and the late Luciano Pavarotti. Taped in December 1999 at the Konzerthaus in Vienna, accompanied by the Vienna Symphony and joined by the Gumpoldskirchner Spatzen Children’s Choir, this program features popular Christmas songs such as “White Christmas,” “Jingle Bells,” as well as beloved carols and sacred songs such as “O Holy Night,” and “Amazing Grace.”

(Australian Sunday Telegraph)

She’s admitted using cocaine, ecstasy and marijuana as a teenager and once said she could have “ended up like Amy Winehouse”.

“It’s so important to me that classical music is accessible and approachable, because I came from a background where I didn’t know anything about it,”’ the Welsh mezzo-soprano tells Insider. Jenkins, 29, has sold more than four million albums, signed a $10.6 million contract with Warner – reportedly the largest in classical music history – and made Britain’s Sunday Times Rich List.

Her eighth album, Believe, featuring collaborations with Andrea Bocelli and André Rieu, was released on Friday and she will perform at Carols In The Domain on December 19.

While Jenkins has made her name mining the popular-classical crossover vein, she hasn’t ruled out performing straight opera, and she has a big name preparing her for the moment. “That’s something I’ve always said I wanted to do,” she says. “Being a mezzo-soprano, my voice doesn’t fully develop until I’m about 30. Placido Domingo has been giving me lessons to get me ready for my first opera.”

Hora de relembrar duas grandes produções em filmes publicitários. A primeira com foco no produto, em regravação de um antigo sucesso do Queen, e a segunda, na marca, em tema interpretado por John Denver e Plácido Domingo:

Superstar tenor Plácido Domingo has been around for a long while. Although his voice sounds amazingly fresh, the kind of heroic high notes required by leading Italian tenor roles are now beyond realistic possibilities. Since low register has never been a problem for him, why not try baritone roles then? The title role in Simon Boccanegra is not Verdi’s heaviest baritone role and one could also argue that the fact that Verdian baritone parts are usually too high should not be a problem for a tenor, even one short of his high c’s and b’s. On paper, this is all true. Not only on paper – Domingo can sing all the notes Verdi wrote for Simon Boccanegra. He even sings them stylistically and expressively. But does he sound convincing in the role? I am afraid not.

First of all, although his tenor has a bronze-toned quality, he does not sound baritonal at all. His low notes, easy as they are, do not possess real depth and his ascents to high notes are free from the intense quality a true baritone has. As a result, the lighter and slightly nasal tonal quality, weird as it sounds, make the character seem younger than he should and many a climax moment do not blossom as they should. Of course, Domingo is a clever, experienced singer and takes profit of every opportunity to make it happen. This evening, for example, he was announced to be indisposed and took advantage of the occasional coughing and constriction to depict Boccanegra’s decaying health.

The tenor in a tenor role this evening was Fabio Sartori, whose voice has the raw material of a important singer: it has a most pleasant blend of richness and brightness and more than enough carrying power, he can produce elegant phrasing and, of course, he is idiomatic and Italianate. Some of his top notes are impressively focused and powerful. But he can be clumsy while handling all those things and, in the end, you are too often wishing that he could make this or that a little bit better. He should also try to loose some weight if he wants to take some leading man roles these days. I finally had the impression that roles like Adorno will be soon too light for him. It is not unusual for dramatic voices in the making to be difficult to handle before the whole “mechanism” find its optimal modus operandi. I am curious to see what follows.

Anja Harteros’s creamy soprano and its exquisite floating mezza voce are hard to resist and she is consistently musicianly and sensitive. She is a good Amelia, but when things get too Italianate, she could be caught a bit short. Although there is always pressure for a singer with her qualities to deal with Italian roles, I do believe she should explore more German repertoire, which shows her under the best possible light.

In spite of the odd woolly moments, Kwangchul Youn was admirably sensitive and tonally varied as Fiesco – and his low register was particularly deep and rich. Hanno Müller-Brachmann was similarly forceful and dark-toned as Paolo - and he lived up to the expectations of his role’s difficult high notes.

As for Daniel Barenboim, I am afraid that Verdian style is beyond his immense skills. The orchestral sound is too soft-centered, the proceedings generally lack forward-movement, emotionalism is kept in leash. In this sense, the conducting matched Federico Tiezzi’s entirely uneventful production. Maurizio Balò’s sets look cheap, Giovanna Buzzi’s costumes look tacky and the stage direction is sketchy, artifficial and old-fashioned. The “choreographies” for chorus members is short of ridiculous. Considering that Italy is famous for design, I guess they bought this one in a highway outlet for operatic production.

Hoy, cuando he encendido la tele, por casualidad estaba en la sexta y dando las noticias (la hora que es…) y ésto ha sido lo que decían justo en ese momento:

Pero la cosa no se ha quedado ahí. Esto me parece incluso normal, lo que me ha parecido excesivo ha sido lo siguiente:

Pero a ver, el trabajo de Papa en qué se basa? En salir al balcón a rezar? Pues que se ciñan a eso, que no se pongan como los monjes budistas a sacar discos!!!

Es que me pregunto qué cantará el hombre este… ¿Ave María? ¿y hará un dúo con Bisbal? ¿Y, cómo es el Papa, rezará y será número uno? ¿irá a Eurovisión representando a la Ciudad del Vaticano? ¿Y a donde irán a parar los dineros de las ventas? (Porque todos los fieles irán como locos a la FNAC a comprárselo, eso está claro)

Yo quiero acabar con una frase de la noticia de la sexta “habrá que comprarlo, porque descargarlo por internet debe ser pecado mortal”

In order to fund the old house’s renovation, the Staatsoper Unter den Linden has programmed a series of concerts to raise money. Taking profit of the opportunity of Plácido Domingo’s baritone venture in Simon Boccanegra, a Wagnerian evening with star soprano Nina Stemme and conductor Daniel Barenboim was organized in the Philharmonie. However, the Swedish soprano fell ill and was replaced at the last minute by a regular in the Lindenoper, mezzo Michaela Schuster, last seen as Ortrud in the première of the new production last April.

However, before these singers could open their mouths, Barenboim treated the audience to a sensational performance of  Tristan und Isolde’s Prelude and Liebestod. As in his last performance in the Staatsoper, the conductor indulged in a considerate tempo in order to showcase the orchestra’s sophisticated phrasing, tonal refulgence and clarity. The ensuing Liebestod offered an entirely contrasting approach, almost dance-like, in which the escalating chromatic figures spiralled in clearly defined alternate dynamic effects to breathtaking results.

After a white-heat start, The Valkyrie’s Act I would finally settle into something rather less impressive. Although the orchestra was in great shape, the need to adapt to the soloist’s necessities took its toil in what regards horizontal clarity and pace. Of course, Plácido Domingo’s vocal longevity is a marvel. The tone is certainly darker these days, but the sound is still fresh. However, the tenor needed some time to prepare for his ascent to top notes or for fast declamatory passages, forcing the conductor to step on the break pedal, for the loss of fluency sometimes. That said, he seemed far more comfortable than last time I heard him as Siegmund at the Gala concert in Munich with Waltraud Meier some two or three years ago.  A colleague from the Staatsoper’s Noccanegra, Kwangchul Youn was in great voice, producing some powerful sounds as Hunding.

Michaela Schuster deserves a paragraph for herself. I have seen her only twice as Ortrud, both in Berlin and Munich, and have found her vocally no more than efficient, but tonight, in this soprano role, I was able to understand more about her voice. Free from the burden of sounding formidable and dramatic, one can see the naturally lighter hue of her voice, which is surprisingly pleasant, soft and bright. I could imagine that she would be a touching in French roles such as Charlotte or Didon. In her more relaxed self, she floats lovely mezza voce and phrases with authentic legato. When things start to get too “Wagnerian”, the usual harsh quality comes unfortunately about. Of course, when the phrase is congenial she produces some firm big acuti, but generally she attacks them in a strangely backwards placement only to focus them a few seconds later. In order to accomodate her, the conductor had often to kept the orchestra’s enthusiasm on a leash.  But that is all secondary when one considers her highly expressive interpretation. Crystal-clear diction, the wide tonal palette of a Lieder singer and a highly alert and imaginative way of colouring the text. Some moments of her performance were original and illuminating even in comparison with some very famous Sieglindes. I really wish she would give her Ortruds and Kundrys a rest and made better use of her talent for subtlety for more than a change.

We have attended several of the Metropolitan Opera’s live theater broadcasts — most recently “Aida” last Saturday. If you haven’t tried it, you should. Not an opera fan? That could be just the point. Seeing these operas on the big screen with cinematic camera shots is a different experience from the crow’s nest at the Met. For anyone who has been thinking of taking a first look at opera through this program, I strongly recommend “Carmen” on January 16. Buy early and show up at the theater an hour before the broadcast. These broadcasts all sell out.

The next opera we’re going to see is “Turandot” on November 7, and we’re very interested in Verdi’s “Simon Boccanegra” on February 6, both because we’ve never seen it and because Placido Domingo will appear in a baritone role. He sang it for the first time last week in Europe.

This business of a singer switching ranges is rare but not unheard of. Enrico Caruso, is should be no surprise to learn, could sing well in all three male voices and made a recording, which is still available, of “Vecchia Zimarra,” a basso aria from Giacomo Puccini’s “La Boheme.” That aria is often overlooked — after all, the tenor doesn’t sing it — but it is touching, especially in the context of the story. Colline is about to sell his old coat to buy medicine for the dying Mimi.

What’s even more interesting than that recording is that Caruso once sang that aria during a performance in Philadelphia. The basso, Andres de Segurola, had complained earlier of a sore throat, and Caruso — who was singing Rodolfo — anticipated trouble. Sure enough, de Segurola signalled that he couldn’t sing “Vecchia Zimmara,” so Caruso sang it while the basso mouthed the words. The audience, for the most part, was unaware of what was occurring. That’s de Segurola at the left in a caricature drawn by Caruso.

There’s more about Enrico Caruso at this link:

http://medicine-opera.com/2009/04/03/the-recordings-of-enrico-caruso-1914-1916/

The Times of London reports on Domingo’s debut as a baritone:

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article6889879.ece

Yesterday the Sunday New York Times suddenly became worth its asking price of $6 by carrying a large advertisement laying out the immense variety of China-related musical activites going on in Manhattan this week.  In effect, the PRC is taking over the beating heart of the classical music world, with the exception of the Metropolitan Opera, an institution which has already lionized Placido Domingo as Qin Shihuangdi.  For East Asia’s biggest country, whose cultural ensembles used to be denied entrance to the U.S. on account of their insistence on singing songs about Taiwan’s pending liberation, this is a major success.

It is also a testimony to how far arts groups will go when they smell money.  For Chinese music is not simply a matter of laying some exotic ephemera out every so often for largely white audiences in North American concert halls: today there is a global marketplace for Chinese composers, and the Chinese government and corporations are flush with cash.

But soft!  What right-wing pundit through yonder window breaks?

Cue squawker Lou Dobbs:

“ChiComs turn Juilliard Red;

they have to stop before we outsource again

the very musical DNA of our octatonic pledge

to future generations / this is an assault

on American harmony that not even John Galt

could envision in his self-built ivory tower

but the academics and professoriat have turned tail.

Musicologist philosophers hear coin:

loins are girded for harmonic hegemony,

imperial pretensions fall away like J.B. Lully’s foot

after being stamped by the heavy truncheon of rectification campaigns.

Because that is the toxic loot windblown on our shores

in New Amsterdam: Qingdao beer no longer Anheuser,

the promontory statues of the Christian Tannhäuser

soon replaced by a lithe Tan Dun tanned from junkets

as a sent-down youth?

This is treachery the likes of which has not been seen

since Hoover sold out in paroxysms of premature jack-backwards

appeasement to the 12-tone harmonists Viennese:

– Gesamtkunstwerk means jobs for migrant mural painters –

and now Phil Glass talks mantras, not Boeing

Jon Adams writes Chairman, not glowing reviews of Nixon’s

brow collaborating again with nervous sweat.

Opera composers don futile expressions

at my exposé of pentatonic malaise,

imperial confessions of R. Emmanuel follow,

throat-singing lamas in the halls of the House.

Now the myrmidons puff, blasting imperial semi-quavers

heralding the Chairman,

or so suspicions have been whispered by my Auto-tune Producer.”

citando il titolo di un libro di soriano, mi sembra giusto ricordare – anche se può sembrare ipocrita – il grassone più simpatico del pianeta, anche se non mi era calata la scelta di (ri)sposare la sua segretaria, la donna qualunque, anche un po’ viperetta. comunque, contento lui, contenti tutti, anche se preferisco a lui domingo prima di rimettermi a studiare, per il mio secondo d-day fissato il 20 settembre – pregate per la fille de poche – lo ricordo mentre canta la mia aria preferita, vesti la giubba tratta da i pagliacci di ruggero leoncavallo. in quest’opera, un gruppo di attori recita a montalto uffugo a cosenza, e il protagonista canio recita la parte di un pagliaccio tradito, ma canio è stato veramente tradito dalla moglie, vorrebbe chiarire, ma lo spettacolo deve continuare…citando freddie…the show must go on

“Recitar! Mentre preso dal delirio,
non so più quel che dico,
e quel che faccio!
Eppur è d’uopo, sforzati!
Bah! sei tu forse un uom?
Tu se’ Pagliaccio!

Vesti la giubba,
e la faccia in farina.
La gente paga, e rider vuole qua.
E se Arlecchin t’invola Colombina,
ridi, Pagliaccio, e ognun applaudirà!
Tramuta in lazzi lo spasmo ed il pianto;
in una smorfia il singhiozzo il dolor, Ah!

Ridi, Pagliaccio,
sul tuo amore infranto!
Ridi del duol,
che t’avvelena il cor!”

bisoux,

la fille de poche

(originally posted on: 08/09/07 – modified on: 24/10/09)

Sarah Brightman, the world renowned soprano, will perform October 31 at Chichen Itza.

Sarah Brightman follows in the footsteps of Placido Domingo who performed a sold-out concert at Chichen Itza last fall. Organizers have already announced that Elton John will perform next year at what is shaping up to be an annual event.

For more information about Chichen Itza please follow this link http://cancun.travel/en/things-to-do/mayan-culture/chichen-itza/ and you can also visit http://cancun.travel/en/hotels/ for ideas on where you can stay in Cancun and the best ways to get there.

Inspirado por el deseo del rey Alfonso XIII de construir un hotel de lujo que estuviera a la altura del Ritz de París, el Hotel Ritz de Madrid, inaugurado en 1910, comparte con sus homónimos de París y Londres la reputación de ser uno de los hoteles más majestuosos de Europa. El hotel se diseñó y construyó bajo la supervisión personal del legendario hotelero Cesar Ritz, de quien adoptó el nombre.El Ritz ha desempeñado un papel esencial en la vida de Madrid durante el último siglo. Aún hoy, el hotel persiste como un punto de atracción clave para muchos visitantes de esta capital europea.

A principios del siglo pasado, el rey Alfonso XIII volvía de sus viajes por Europa con el recuerdo de los palacios que había visitado impreso en la memoria. Madrid era una ciudad de intensa vitalidad, con edificios soberbios y hermosos jardines. Sin embargo, de un modo u otro le faltaba algo. El Rey fue el primero en ser consciente de cuánto ganaría la ciudad si contara con un gran hotel de lujo de la misma categoría del Ritz de París o Londres.

Se puso manos a la obra y no perdió tiempo en poner estas ideas en práctica. Madrid debía ofrecer a sus visitantes algo realmente extraordinario: un hotel que pudiera satisfacer el gusto más refinado de un nuevo tipo de viajero, que sólo por aquel entonces empezaba a conocerse como “turista”.

El sueño del monarca comenzó a hacerse realidad. La edificación del Ritz -grandioso, luminoso y confortable- había comenzado con el respaldo de la Compañía de Desarrollo Ritz. Charles Mewes, de París, y Luis de Landecho, de Madrid, fueron los arquitectos responsables. En poco tiempo, las paredes del futuro hotel sobrepasaban ya las magnolias, los cedros y las acacias del Prado.

Lo último en comodidad y lujo en aquella época era contar con cuatro o cinco cuartos de baño en cada planta del hotel. Con instalaciones como éstas, el Ritz se convirtió de inmediato en uno de los hoteles más lujosos del mundo. Había un teléfono por piso junto al ascensor, el cual también estaba considerado como un ejemplo sublime del lujo moderno.

Actualmente, el Hotel Ritz mantiene estas tradiciones, aunque los baños y teléfonos son estándar en todas las habitaciones, las cuales cuentan además con conexiones Wireless de alta velocidad a Internet.

A su vez el  Restaurante Goya es cita obligada para los paladares más exigentes, el té de media tarde en el Lobby Bar, un almuerzo o cena en La Terraza disfrutando de los increíbles jardines unido a un discreto pero atento servicio, hacen de los Restaurantes y Bar del Ritz los lugares más exclusivos de Madrid. 

Para terminar, destacar la fabulosa ubicación del Hotel,  un auténtico lujo por si misma. El Hotel Ritz está situado entre el Parque del Retiro, el Teatro de la Zarzuela y los tres museos más importantes de Madrid: el Prado, el Thyssen Bornemisza y el Centro de Arte Moderno Reina Sofía.

El hotel se encuentra situado en pleno centro financiero de la capital, a escasos metros de la Bolsa de Madrid, y a 5 minutos a pie del casco histórico.

Sin lugar a duda, el deseo del rey Alfonso XIII de crear un hotel majestuoso se vió cumplido.

Durante casi cien años, el Hotel Ritz Madrid ha dado la bienvenida a las personalidades más representativas de todos los ámbitos: cultura, arte, política, ciencia, moda… El Libro de Oro del Hotel se ha convertido en testigo y testimonio importante de ello.

Esta es una pequeña muestra de algunos de los clientes ilustres del pasado y del presente que han firmado en nuestro Libro de Oro: Rey Alfonso XIII y la Reina Victoria Eugenia ,El Emperador Haile Selassie de Etiopía ,El Rey Jaled de Arabia Saudí , La Reina Sonia de Noruega , El Príncipe de Gales y la Princesa Diana , El Príncipe Raniero y la Princesa Gracia de Mónaco , El Príncipe Naruhito de Japón , El Rey Mohammed VI , El Maharaja de Kapurthala , El Príncipe Ernst August de Hannover , Margaret Thatcher , Fidel Castro , Mijail Gorbachov , Eva Peron , President Jaques Chirac , Kofi Annan , Vladimir Putin , Matta Hari , Romano Prodi , Yaser Arafat , Helmut Kohl , Tony Blair , President Bill Clinton , Nelson Mandela, Herbert von Karajan, Sir George Solti , Cher, Placido Domingo, Marc Anthony , Ana Belen , Madonna , Julio Iglesias , Frank Sinatra, Sting , Arthur Rubinstein , Jennifer Lopez , Elton John , Tina Turner , Brian Ferry , Lorin Maazel , Paul McCartney, Salvador Dali , Alberto Maravia , Fernando Botero, Catherine Deneuve , Sofia Loren , Michael Caine , Pierce Brosnan , Mel Gibson , George Clooney , Milos Forman , Salma Hayek , Nicole Kidman , Ridley Scott , Brad Pitt , Jerry Lewis , Tom Cruise , Monica Bellucci , Dennis Quaid , Sylvester Stallone , Jeremy Irons , Penelope Cruz , Morgan Freeman , Will Smith , Emma Thompson , Harrison Ford , Mel Brooks, Laurence Olivier ,Lesley Howard , Richard Burton , Ava Gardner , Woody Allen , Richard Gere , Roger Moore , Melanie Griffith , Zsa Zsa Gabor ,  Antonio Banderas , Julia Roberts , Henry Fonda , Ben Stiller , Jennifer Connelly , James Stewart , Holly Hunter , Dustin Hoffman , Michelle Pfeiffer , Jodie Foster , Burt Lancaster ,Anthony Hopkins , Marcello Mastroianni , Orson Welles, Alexander Fleming , Christina Onassis , Ivan Trump, David Delfin , Dolce & Gabana , Salvatore Ferraga , Manolo Blanhik , John Galiano.

Más información: http://www.ritz.es/web/orit_es/hotel_ritz_madrid.jsp

La Fundación Birgit Nilsson ha querido homenajear al tenor español Plácido Domingo con el galardón que supone el mayor premio de la música clásica, con un valor de un millón de dólares (aproximadamente 671.700 €). La soprano cuyo nombre lleva la fundación, estableció un legado para la institución y aclaró que el primer galardón que se concediese fuera para el tenor español.  

No se si os ocurre a vosotros pero a mi siempre me ha parecido que en España no se le apreciaba lo suficiente, esa mala costumbre que tenemos de comparar! Pavarotti es el tenor más popular de la segunda mitad del s.XX, es evidente, pero también hay que reconocer el mérito y la labor de Plácido Domingo, que tras tantos años en la música ha consolidado la España clásica, allá donde ha ido.

Recogió el galardón de manos de el rey Carlos Gustavo de Suecia en la Ópera Real Sueca, el mismo escenario donde debutó la soprano sueca Birgit Nilsson, fallecida en diciembre de 2005. Emocionado comunicó que destinará el importe íntegro para dotar un premio desde concurso para la promoción de jóvenes talentos que él fundó en 1993, Operalia.

No cabe duda de que con más de 40 años de carrera artística, es uno de los tenores más importantes de todos los tiempos.

In der Dresdner Semperoper wurde Plácido Domingo mit einem Klassik Echo für sein Lebenswerk geehrt. Domingo ist einer der prominentesten Tenöre der Welt.

Plácido Domingo / Foto: Richard Haungton / Fuente: www.placidodomingo.com

Plácido Domingo recibió de manos del rey Gustavo de Suecia el primer premio otorgado por la Fundación Birgit Nilsson por su trayectoria de casi 5 décadas. Además del reconocimiento, el tenor español recibió un monto equivalente a un millón de dólares

Aunque el premio se anunció desde el mes de febrero, la ceremonia se celebró el día de hoy 13 de octubre en la Ópera Real de Suecia, en Estocolmo, y contó con la asistencia de diversas personalidades además de los soberanos suecos. Fue justo en ese escenario donde la soprano Birgit Nilsson hizo su debút hace 63 años. La fundación y los premios fueron creados a solicitud expresa de la cantante sueca que aportó los recursos económicos necesarios y que, antes de morir, expresó su voluntad de otorgar el primer galardón a Domingo. El tenor  anunció que utilizaría el dinero recibido para a su vez crear un premio al mejor intérprete de ópera wagneriana en el marco de su reconocido certamen Operalia.

El premio Nilsson se entregará cada dos o tres años a los exponentes más destacados del mundo de la ópera y la música de concierto. En futuras emisiones, la distinción será otorgada por un jurado integrado por tres personalidades  designados por el Consejo de la Fundación.

Rutbert Reisch, presidente de la nueva institución, expresó que la artista sueca ”… quiso honrar a uno de los grandes cantantes de ópera de todos los tiempos, cuya contribución al mundo de la ópera y de los conciertos no admite comparación”.

Nilson y Domingo compartieron el escenario por primera vez en el Metropolitan Opera House de Nueva York, el 15 de febrero de 1969, durante una función de Tosca. En aquella ocasión, la cantante elogió ampliamente la interpretación del español.

Sverige har haft flera operastjärnor, men knappast någon så stor som Birgit Nilsson. Nu är hon aktuell igen meddelar DN. Det är hennes eget pris, The Birgit Nilsson Prize, som skall delas ut för första gången. Det blir Placido Domingo som erhåller de en miljon dollars som priset uppgår till.

Birgit Nilsson var stor som operasångerska. Jag har uppfattat henne som en stor människa också, ödmjuk, varm och med en frisk humor. Hon har hamnat på svenskt frimärke blott en gång. Jag tycker hon kunde vara värd ett bättre sådant, då det här från utgåvan “Sverige i världen” 1981 knappast gör henne rättvisa.

Läs även andra bloggares åsikter om Placido Domingo, The Birgit Nilsson Prize, operastjärnor