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Parte 2: https://dai.ly/x9rr2yq
Documental sobre la vida del cantante y director de orquesta de ópera.
Omnibus fue una serie documental de televisión de la BBC basada en las artes, transmitida principalmente por BBC1 en el Reino Unido. El programa fue el sucesor de la larga serie basada en las artes 'Monitor'.
Funcionó desde 1967 hasta 2003, generalmente se transmitía los domingos por la noche. Durante sus 35 años de historia, el programa ganó 12 premios Bafta. La serie fue reemplazada por Imagine presentado por Alan Yentob.
Titulo original:
Placido Domingo
Sigue mi pagina de Face: https://www.facebook.com/VicsionSpear/
#documentales
#españollatino
#historia
#relatos
Documental sobre la vida del cantante y director de orquesta de ópera.
Omnibus fue una serie documental de televisión de la BBC basada en las artes, transmitida principalmente por BBC1 en el Reino Unido. El programa fue el sucesor de la larga serie basada en las artes 'Monitor'.
Funcionó desde 1967 hasta 2003, generalmente se transmitía los domingos por la noche. Durante sus 35 años de historia, el programa ganó 12 premios Bafta. La serie fue reemplazada por Imagine presentado por Alan Yentob.
Titulo original:
Placido Domingo
Sigue mi pagina de Face: https://www.facebook.com/VicsionSpear/
#documentales
#españollatino
#historia
#relatos
Categoría
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MúsicaTranscripción
00:00Placido Domingo
00:30He was very, very young. Everybody knew about somebody called Placido Domingo, who was the leading tenor of his generation, of course.
00:42He was just the most warm and incredible person. He was sort of like a big huggy thing, you know, loved to sort of hug people.
00:49I've often said I think there should be a scientific study done in Placido Domingo as a man, as a human being, because he's a multi-talented and multifaceted individual.
01:05Placido Domingo
01:10Placido Domingo
01:13Placido Domingo
01:18Placido Domingo
01:20Placido Domingo
01:52Placido Domingo is acclaimed as the world's most complete opera singer,
01:59his incredible voice matched by his dramatic talents and heroic stance on stage.
02:04He has been at the top for more than 30 years
02:07and has shown his versatility in more than 100 of opera's leading roles,
02:11from the lyrical romance of Verdi to the epic drama of Wagner.
02:15I am about to arrive to my 3,000 performance.
02:25So I'm very proud of being able to be on the stage still at 60
02:31and, you know, being able to still probably be around another, for a few years more singing.
02:45Placido is a complete tenor, he's a great musician, a great actor,
03:04he's very flexible in any sense, vocally and staging,
03:10and so what can be that, if not very special.
03:34He's probably the most convincing performer I've ever seen in my life on stage.
03:39Not only his extraordinary voice, but the way he acts
03:44and the way his musicianship and his tremendous expression.
03:52This kind of links that he established between stage and audience, he's great.
04:10One of the most important elements in music success was very much loved by the audience, by the women.
04:29They're showing him a kind of ideally handsome hero.
04:47But he's a handsome man, and, you know, the women, during the performance and after the performance, you know,
04:57you couldn't get anywhere near him for women. I mean, I don't blame them.
05:00And it's wonderful, he's a hero, it's a heroic voice.
05:03It's a beautiful sound and, you know, you fall in love with it immediately.
05:06He's a hero, and, you know what?
05:16La gloria a mi nombra si viene, e un santo de mi giaccio.
05:29La gloria a mi nombra si viene, e un santo de mi giaccio.
05:59En el escenario tiene que mirar a los intereses, pero en ciertas roles son muy muy atractivos, muy sexy.
06:29Domingo
06:57Creo que lo que hace Domingo especial en la historia de la operación
07:02es no solo la voz, que, de nuevo, puede ser o no, como todo el otro,
07:07sino que es el momento de cambiar, de mover la arte clásica
07:16de la escena, de la teatro, de los películas, de los espectáculos abiertos.
07:27No me gusta usar clichés, pero él tiene una magia especial.
07:45Yo diría que cuando estoy trabajando con los tres tenores, Pavarotti tiene un poder increíble.
07:54Carreras es velvete.
07:59Es muy smooth.
08:03Y Placido tiene la mejor de ambos mundos.
08:08Entre nosotros ha sido siempre, y siempre será, una especie de competencia de cantar.
08:26Y creo que esto es muy positivo para el resultado de cada concerto.
08:31¡Cantar!
08:32¡Cantar!
08:33¡Cantar!
08:34¡Cantar!
08:35¡Cantar!
08:36¡Suscríbete al canal!
09:06There is a real friendship relation between us and a tremendous harmony.
09:13And I think that this creates a kind of chemistry that is, in my opinion, the key of our being together on stage.
09:22The three tenors have been enjoyed by millions of people,
09:26but Domingo, Carreras and Pavarotti have been criticized by the opera establishment
09:31for going perhaps a little too far down market.
09:36I think Plastodoro, like the many other singers, and certainly the three tenors,
09:43have perhaps gone too far in trying to popularize themselves and the things they sing.
09:51Now, I'm greatly in favor of reaching out to the public,
09:54but I think there's a limit to what you actually do in that direction.
09:58He gathers people by the hundreds.
10:09They just flock to him.
10:11And so that is of great use to opera houses and for sponsorship and things like that.
10:16And to pull in the people who wouldn't normally come in.
10:19There are people, women, men, who would never normally go to opera.
10:22But he can absolutely charm them, and they're taken in.
10:26And it's wonderful, because we get a lovely new audience, constantly.
10:31I have had many letters which I can show how people say it.
10:35Before I hear you in this popular concert, during the three tenors concert,
10:39I will never dream to go to the opera.
10:40And now, I go and I am a full-time subscriber.
10:44Domingo has done more to popularize opera than any artist of his generation.
11:11Yet, with his singing career inevitably drawing to a close,
11:15many of his fans fear that soon he will be lost to the world of opera.
11:21But Domingo has long dreamt of running an opera company.
11:25His chance came in 1995,
11:27when the Washington Opera asked him to become their artistic director.
11:30I think he thought that by 1990 or so, he would have stopped singing.
11:38And I think he himself is amazed
11:41that he's still singing ten years later than he thought he was going to be.
11:45And I think he was concerned that,
11:48since usually the life of a singer is a relatively short one,
11:53what was he going to do with all this energy when he'd stop singing?
11:56But he had this passion for working in an opera company.
12:14So, that was clearly something that had always been on the cards for him.
12:18In the past, it has been quite common
12:26for an eminent singer to become an artistic director of a house.
12:32You don't actually settle down, I think, and ask the question,
12:35well, you know,
12:36what other sort of qualifications has he got beyond the obvious ones?
12:40But I think the obvious ones are so strong
12:43that when the opportunity comes,
12:47both for him and for somebody looking for an artistic director,
12:50you both jump to each other and say, come along.
12:53Washington, D.C., it may not be a great opera centre,
12:58although the opera company there has grown considerably in recent years,
13:01and I've seen some very good performances there.
13:03It is one of the better of the not very top American opera companies.
13:07It also happens to be the national capital.
13:13It does no harm if the president or senators or ambassadors
13:17are seen going there.
13:19It's a place to be seen, to be going to.
13:22And from that point of view,
13:24I suppose he sensed that it was not a bad place
13:27in which to, as it were, cut his teeth as artistic director.
13:30Domingo has followed in the musical footsteps of his parents.
13:58Both were stars of the Zarzuela,
14:01Spain's own traditional form of comic and romantic light opera.
14:05In the late 1940s,
14:07the Domingo family emigrated from Spain to Mexico City,
14:10where they established their own opera company
14:12devoted entirely to the performance of Zarzuelas.
14:15And I always, not only like the music,
14:29but I like the fact of organizing, casting, and so on.
14:35So I think it was kind of a whole life idea
14:41about if one day, maybe after I end my career singing,
14:46I will be an artistic director of an opera house.
14:51Can we establish something?
14:53I mean, I don't know how much catering we can get.
14:56It will be better maybe to do it between the rehearsals.
15:01They will not allow us to serve food.
15:03In any rooms in the Kennedy Center.
15:06Everybody is.
15:07I mean, it's a large.
15:07There must be 175.
15:09I knew he wanted to do something like this.
15:13And several other people, friends of his,
15:16also had the instinct that this was the time.
15:18So my job was to sound him out and get it moving.
15:25Well, that's not, you know how,
15:26you all have seen how he moves.
15:29Tracking him down was what took time.
15:32You know, I sing in Bayreuth.
15:33I sing in Salzburg.
15:35I sing at the Met.
15:36I sing in Washington.
15:37I sing in Los Angeles.
15:38I sing in Vienna.
15:40I sing in Covert Garden.
15:41I sing in La Scala.
15:43I'm singing in every opera house.
15:45It took six months to just focus on it and get him to.
15:50But he was, once I told him what they wanted to propose,
15:56he did give it a lot of serious thought.
15:58When this approach was made, because, of course,
16:01in my conversations and in my interviews and so on,
16:04I was talking about the idea one day.
16:06So when all this came across, I was already thinking
16:12that maybe I was not going to be singing anymore,
16:15so that that was a right age for me to do it.
16:19Hey, Susie.
16:20How are you?
16:21Thank you.
16:24There were a lot of people who thought
16:25he was going to come to Washington
16:28and be very, very hands-off,
16:30and that has not been the case.
16:32He's been very much an active director.
16:34His programming is not orthodox.
16:37I mean, he has all the wonderful ones
16:39like the Il Trovatores and the Bohems and the Toscas,
16:41but he's had a little courage
16:44to bring something like Il Guarani,
16:46which was a Brazilian national opera,
16:49but nobody here has ever heard it.
16:50I think that Domingo has been
17:04a pretty fair success here,
17:20but maybe only a middling success
17:25as an artistic director.
17:28Perhaps there are some of the modern operas he did
17:30which were not so terribly strong.
17:40People said, well, why is he doing that?
17:42You know, but he wants to broaden our horizons.
17:46What you want is then, of course,
17:47if you are going to be there,
17:49that that company can improve
17:50under the time you are going to be there.
17:53That otherwise is not any reason
17:54for you to accept a position
17:56just to keep it even, you know?
17:58I mean, and I think it's not only to keep it,
18:02to bring it up and to bring it really
18:05to an international,
18:07great international level.
18:08He knows the business in every aspect,
18:21and this is very important.
18:23You can rely on his opinion,
18:26and you know that when Placido gives you an opinion,
18:28he's an honest one,
18:30and you know that he's for the best
18:33of the whole product,
18:36if I can use this word.
18:37We're just going to take one more point.
18:38I prefer myself, if you don't mind,
18:41I prefer, I prefer,
18:44if it goes this way.
18:46I like that.
18:47I prefer it this way.
18:48I like that.
18:49This side.
18:49This side.
18:50Okay, will you give me one bit
18:51to move through this light over here?
18:52Yes, I like this too.
18:53This is better.
18:54He once said to me,
18:56when somebody was complaining
18:57about being unable to reach him,
18:58he said, do tell him
18:59I'm not one of those tenors
19:01who sits by the phone
19:02and waiting for it to ring.
19:04He has this extraordinary sense of adventure.
19:07We all at school have known,
19:09and at university have known,
19:11people who are overachievers,
19:13who are compulsive workers
19:15and cannot stop.
19:17I mean, with Placido,
19:19you have that writ large,
19:20and of course,
19:21one of the most difficult components
19:25of that is travelling.
19:27He can't stop travelling.
19:32This is 105.1 FM KMCT,
19:39Classical K-Mozart.
19:40Rich Camparella with you
19:41on this Tuesday morning.
19:42On the freeways,
19:43we've got no signal alerts
19:44working at the moment,
19:45just the usual pockets of slowing,
19:47and Southern California weather,
19:48more of the same,
19:49highs ranging from the 70s
19:50along the shore
19:51to the low and mid-90s
19:52in the warmest inland valleys.
19:54And here's a reminder,
19:55we'll be broadcasting live from UCLA.
19:57Domingo's most recent challenge
19:59has been his appointment
20:00as Artistic Director
20:01of Los Angeles Opera.
20:06September saw his first opening night.
20:10Ladies and gentlemen,
20:12it appears that the audience
20:13seems to be like...
20:14And already,
20:15there were huge expectations
20:16surrounding his new role.
20:18Absolutely.
20:19Placido's image
20:22and also his ability
20:25to raise money,
20:26I mean,
20:26the amount of money
20:27that has come
20:28since Placido was appointed,
20:29I envy.
20:31Thank you.
20:31Thank you.
20:37Thank you.
20:38Thank you.
20:40Looks divine.
20:41You know,
20:41you have done a phenomenal job.
20:43Tell me the money.
20:44Thank you very much.
20:49Thank you.
20:49Very good.
20:52Gracias.
20:53Are we all in the picture?
20:54Thank you.
21:00In Los Angeles,
21:02it's not just enough
21:03to have the quality.
21:06You need to have
21:07celebrity appeal.
21:10And Domingo,
21:11blessedly,
21:12is one of those people
21:13who everyone knows,
21:15even if it's in the context
21:15of the three tenors,
21:16which to the layperson is,
21:18oh yeah,
21:18it's Pavarotti, Domingo
21:19and the other guy.
21:20But that puts him
21:21in the realm
21:22of the rarefied celebrity
21:24that can raise big bucks.
21:26You're two to KMZT-FM,
21:42Classical 105.1,
21:44K-Mozart.
21:46Tonight is the big one
21:49for opera in L.A.
21:50It is the opening night
21:51for Los Angeles opera
21:53at 7 tonight,
21:54Verdi's Aida.
21:55The conductor
21:56for tonight's performance
21:57is the company's
21:58new artistic director,
21:59Palacito Domingo.
22:03Have a great performance.
22:05Ah, you do too.
22:07Very good.
22:12Are we ready?
22:15Okay.
22:16Okay.
22:16Okay.
22:17The conducting, of course,
22:32has been growing in me
22:34because of the experience
22:36of the singer.
22:38And year after year
22:39after year,
22:39I was hoping one day
22:41I will do it.
22:44So, about 20 years
22:47or something ago,
22:48I start,
22:49and I start doing very little.
22:51It was like a new thing
23:00because I will conduct
23:01one performance now
23:03and the next one
23:04will be a year later.
23:05Then it will pass
23:06maybe 18 months
23:07and then I have
23:08two performances
23:09because I didn't have time.
23:14Then I decide
23:16that I will have
23:17to find time.
23:18and I said,
23:18I have to start
23:19doing more.
23:28Four,
23:29four or five years,
23:30I have been going on
23:31into 20 performances,
23:3430.
23:35This year,
23:35for instance,
23:36I have 40 performances
23:37to conduct
23:38and basically
23:39it's almost totally
23:41Verdi.
23:43Can we take it there
23:44from letter L,
23:45the entrance of the banda,
23:46please?
23:47Hmm?
23:48Mark the entrance
23:52of the banda,
23:52okay?
23:53Okay.
23:56Beautiful.
24:05This was the first
24:06time I worked with him
24:07as a conductor
24:07and I must say
24:09I think it's beautiful
24:10in a way
24:11because he understands
24:12singers
24:12and he's obviously
24:14very sympathetic
24:15in understanding
24:15to singers.
24:18and so
24:23on the stage
24:23together
24:24and now
24:25and so
24:26on the stage
24:27and so
24:28the short
24:29and so
24:29see you
24:29in a way
24:31that was
24:32good.
24:32¡Gracias!
25:02¡Gracias!
25:32¡Gracias!
25:34¡Suscríbete al canal!
26:04I mean, his gesture is not as perfect as the gesture of somebody who has been conducting for years
26:10and whose main profession is to be in a conductor.
26:14But on the contrary, because he conducts, at least when he works with me, he conducts the music that he sings,
26:21you can feel that the communion with the conductor is great.
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