01 - Plácido Domingo, Amore Infinito - Canto del Sole Inesauribile
02 - Plácido Domingo, Amore Infinito - Madre
03 - Plácido Domingo, Amore Infinito - Libertà
04 - Plácido Domingo, Amore Infinito - Anima Nell'Anima
05 - Plácido Domingo, Amore Infinito - La Tua Semplicità
06 - Plácido Domingo, Amore Infinito - La Coscienza
07 - Plácido Domingo, Amore Infinito - Palabras
08 - Plácido Domingo, Amore Infinito - Risuona Anima Mia
09 - Plácido Domingo, Amore Infinito - Gratitude
10 - Plácido Domingo, Amore Infinito - A Mother's Wonderment
11 - Plácido Domingo, Amore Infinito - Love
12 - Plácido Domingo, Amore Infinito - Amore Glorificato

Plácido Domingo - Tenor
Kevin Axt - Bass, Guitar
Gregg Bissonette - Drums
Andrea Bocelli 	- Tenor 
Jorge Calandrelli - Piano, Synthesizer
George Doering - Guitar
Placido Domingo, Jr. - 	Tenor 
Bruce Dukov - Violin
Gregg Field - Drums
Gary Foster - Clarinet
Rebecca Gilliver - Cello
Daniel Greco - Percussion
Josh Groban - Vocals
Katherine Jenkins - Mezzo-Soprano 
Steve Kujala - Flute, Pan Flute, Penny Whistle
Michael Lang - Piano
Warren Luening - Trumpet
Tom Rainier - Piano
Vanessa Williams – Vocals
Los Angeles Children's Chorus
London Symphony Orchestra
Nick Ingman, Jorge Calandrelli

One of the most beloved spiritual leaders of the modern era, Pope John Paul II was not only a humanitarian and theologian, but an artist and author. In his pre-Papal life as Karol Wojtyła, the holy man wrote plays, essays, and, most notably, poetry. Considering that John Paul II was known as the “people’s Pope,” it makes sense that his work should be interpreted by another figure with populist leanings, the great tenor Placido Domingo, who consistently brought classical music to non-traditional audiences. As such, much of the music here is of a very accessible nature. “La Tua Semplicita” is a duet that employs a sweeping, cinematic orchestral arrangement, while the gentle, Domingo-composed “Gratitude” pairs the opera great with R&B crooner Vanessa Williams and features Irish penny whistle. Throughout, Domingo attempts to capture both the simple truth and faith-based zeal that characterized Pope John Paul II’s literary work. ---Rovi

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01. Granada
02. Clavel Sevillano
03. Novillero
04. Murcia
05. Cuerdas De Mi Guitarra
06. Madrid
07. Fermin
08. Sevilla
09. Españolerias
10. Valencia
11. Silverio
12. Toledo

Placido Domingo - Tenor
Julio Hernandez - Bass
Orlando Hernandez - Drums, Drum Set
Jeff Kaye - Trumpet
Manny López - Guitar, Guitar (Acoustic), Guitar (Electric)
Gary Mayone - Percussion
Lester Mendez - Synthesizer
Kelly Peral - Oboe
Mark Shubert – Percussion
VVC Symphonic Orchestra
Bebu Silvetti - Conductor, Keyboards, Piano

Domingo is the master on this recording, and does offer a closer emotional character than some other loved Spanish offerings. It is well to remember also, this is such a great selection of Agustin Lara songs, and brings us to remember, "El Flaco de Oro" was truly a great writer of the Boleros for a lifetime. Here, Domingo becomes the vehicle for the historical values of the style. A must have recording, with only a few areas of concern, basically slips in the mix, and curious key changes and heavy orchestrated areas that Lara might not value, were he alive to hear. ---John Cont, amazon.com

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01. Adoro						download
02. Un Viejo Amor 
03. Serenata Tapatia 
04. Adios Mariquita Linda 
05. La Negra Noche 
06. Mańanitas a la Virgen 
07. El Triste					download 
08. Rayando El Sol 
09. Noche Plateada 
10. China
11. Maria Bonita

Plácido Domingo is a world-renowned, multifaceted artist. Recognized as one of the finest and most influential singing actors in the history of opera, he is also a conductor and a major force as an opera administrator in his role as general director of two companies: LA Opera and Washington National Opera.

As a singer, his repertoire encompasses 134 roles, a number unmatched by any other tenor in history, with more than 3500 career performances. His more than 100 recordings of complete operas, compilations of arias and duets, and crossover discs include DG’s anthology of the complete Verdi arias for tenor and EMI’s albums of Wagnerian roles that he has not sung on stage: Siegfried in both Siegfried and Götterdämmerung, and Tristan in a complete recording of Tristan und Isolde.

His work in the recording studio has earned him 12 Grammy Awards, three of which are Latin Grammys, and he has made more than 50 music videos. In addition to three feature opera films — Carmen, La Traviata and Otello — he voiced the role of Monte in Disney’s Beverly Hills Chihuahua, played himself on The Simpsons, and his telecast of Tosca from the authentic settings in Rome was seen by more than one billion people in 117 different countries. His appearances around the world with his colleagues José Carreras and Luciano Pavarotti in the now legendary The Three Tenors concerts are one of the great musical success stories of the 1990s.

He has conducted more than 450 opera performances and symphonic concerts with the Metropolitan Opera, Covent Garden, Vienna Staatsoper, LA Opera, Chicago Symphony, Vienna Philharmonic, Montréal Symphony, National Symphony, London Symphony, Los Angeles Philharmonic and Berlin Philharmonic, among others.

In 1993, he founded the international voice competition Operalia. He recently celebrated the 40th anniversary of his debuts at the Met, La Scala and Verona.

During the past season he added the title role of Simon Boccanegra to his repertoire, with performances at the Met, La Scala, Covent Garden and in Madrid and Berlin. In August 2010, he added the title role in Rigoletto to his repertory in a concert performance in Beijing. He also performed the role in September for a performance of Rigoletto broadcast live on Italian TV from Mantua, where the opera is set; the performance will be shown on PBS during the 2011/12 season. For the 2010/11 season, his appearances include Pablo Neruda — his 134th role — in the world premiere of Daniel Catán’s Il Postino in Los Angeles (filmed for subsequent telecast and DVD release), with subsequent performances in Vienna and Paris, the title role in Alfano’s Cyrano de Bergerac in San Francisco, and Oreste in Iphigenie en Tauride in Madrid, Washington DC and at the Metropolitan Opera.

He also celebrated his 70th birthday with a gala concert, arranged by the king and queen of Spain, in his native city of Madrid. His many conducting engagements for the season include Roméo et Juliette at the Metropolitan Opera, Le Nozze di Figaro in Los Angeles, and Madama Butterfly and Don Pasquale in Washington.

During the 2011/12 season, he will conduct Roméo et Juliette and sing the title role in Simon Boccanegra with LA Opera, and conduct Tosca at the Washington National Opera. Upcoming performances also include Neptune in The Enchanted Island at the Metropolitan Opera, where he will also conduct Madama Butterfly. --- placidodomingo.com

Placido Domingo urodził się w 21 stycznia 1941 roku w Madrycie. Pochodzi z rodziny muzyków, która w 1950 roku przeniosła się do Meksyku. Studiował w konserwatorium muzycznym, gdzie wygrał swój pierwszy konkurs śpiewaczy. Debiutował w 1961 roku w Operze Narodowej w Meksyku w roli Alfreda w Traviacie Verdiego. Przez kilka kolejnych lat śpiewał w Hebrajskiej Operze Narodowej w Tel Awiwie. W połowie lat 60. rozpoczął międzynarodową karierę, śpiewając w czołowych teatrach operowych świata - Metropolitan Opera w Nowym Yorku, La Scala w Mediolanie i Covent Garden w Londynie. Słynny hiszpański śpiewak był kilkakrotnie w Polsce. Po raz pierwszy wystąpił w 1992 w Zabrzu, na koncercie charytatywnym "Serce za serce", zorganizowanym przez Fundację Rozwoju Kardiochirurgii imienia profesora Zbigniewa Religi. Za współpracę z Teatrem Wielkim - Operą Narodową w Warszawie został uhonorowany tytułem doktora honoris causa Akademii Muzycznej im. Fryderyka Chopina. W ubiegłym roku zaśpiewał w łódzkim Teatrze Wielkim na koncercie z okazji 90. rocznicy utworzenia województwa łódzkiego.

Obdarzony piękną barwą głosu oraz wybitną techniką wokalną, artysta występuje na scenach operowych całego świata. Ma za sobą ponad 130 ról, trzy i pół tysiąca występów, setki nagrań płytowych i sukcesy w filmach muzycznych. Placido Domingo wraz z Luciano Pavarottim jest uznany za najlepszego tenora przełomu wieków. Studiował w Meksyku, tam też rozpoczynał karierę. Pod koniec lat 60. pojawił się na scenach europejskich, potem debiutował w nowojorskiej Metropolitan Opera. W 1990 roku wystąpił po raz pierwszy w Rzymie na koncercie trzech tenorów razem z Luciano Pavarottim i Jose Carrerasem. Placido Domingo wystąpił też w filmach "Traviata" Zefirellego i "Carmen" Rossiego. Otrzymał wiele nagród, między innymi dziewięciokrotnie "Grammy". Artysta promuje także nowe talenty. Chętnie udziela pomocy organizacjom charytatywnym. --- kultura.wp.pl

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DISC 1

01- VERDI. Rigoletto (Questa o Quella)
02- MASSENET. Werther (Je ne Sais si je Veille)
03- BIZET. Carmen (La Fleur que tu m' cavais Jetée)
04- VERDI. Rigoletto (Bella Fligia dell'amore) 
05- VERDI. (La Donna e Mobile)
06- LARA. (Granada)
07- PUCCINI. La Fanciulla del West (Ch'ella mi Creda)
08- VERDI. La Traviata (Libiano ne'lieti Calici)
09- VERDI. (Lunge da Lei)
10- VERDI. (De' miei Bollenti Spiriti)
11- VERDI. Macbeth (O Figli, o figli Miei)
12- WAGNER. Die Meistersinger Von Nümberg (Morgenglich Leuchtend)

DISC 2
01- O. FRESEDA / E. FRESEDA. (Vida Mia)
02- SIMONS / GILBERT. (Martha)
03- LOGES / HACHFELD. (Ich Schenck dir eine Welt)
04- LACALLE / LACALLE. (Amapola)
05- CARUSO / FIRPO. (Alma de Bohemio)
06- CARDILLO / CORDIFERRO. (Catari)
07- GREVER. (Jurame)
08- VERDI. (Se quei Guerrier io Fossi... Celeste Aida)
09- WEBER. (Von Jugend auf in dem Kampfgefild)
10- VERDI. (Merce, diletti amici... Come Rugiada) / (Dell' Esilio nel Dolore... Oh tu Che l'alma adora)
11- MASSENET. (Pourquoi me réveiller)
12- PUCCINI. (Tu, tu Amore! Tu?)

1971 - 1982 POLYGRAM CLASSICS, INC.

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1. Furio Rendine - Vurria
2. Stanislao Gastaldon - Musica Proibita
3. Cesare Andrea Bixio - Mamma
4. Ernesto Tagliaferri - Nun Me Sceta'
5. Lorena Tassinari - Al Di La Del Cielo
6. Ernesto De Curtis - Tu Ca Nun Chiagne
7. Eldo Di Lazzaro - Chitarra Romana
8. Emanuele Nutile - Mamma Mia, Che Vo' Sape'
9. Rodolfo Falvo - Dicitencello Vuje
10. Francesco Paolo Tosti - Non T'amo Piu
11. Placido Domingo Jr. - Quarant'anni
12. Eduardo Di Capua / Alfredo Mazzucchi - I' Te Vurria Vasa'
13. Virgilio Panzuti - Mandulinate 'E Sera
14. Giuseppe Cioffi - Na Sera 'E Maggio
15. Ernesto Tagliaferri / Nicola Valente - Passione
16. Salvatore Cardillo - Catari', Catari' (Core 'Ngrato)

Placido Domingo - tenor
Budapest Philharmonic Orchestra
Eugene Kohn – conductor

It was said of the great tenor Enrico Caruso that he made the gramophone and the gramophone made him. In his first recordings, Caruso sang tenor arias from his stage repertoire and then any others suitable for his voice. The first operatic recordings were with piano accompaniment. Most of these were later repeated with orchestra after which he increasingly satisfied the demand for his singing with the songs of his home town, Naples. His Italian successors, particularly Gigli, continued this tradition in their recording repertoire. Later in the twentieth century these melodic Neapolitan songs reached a wider audience through the singing of the populist American-born Mario Lanza with his very emotional renditions. As the leaflet essay notes, Placido Domingo (b. 1941) is not trying to call attention to the popular aspects of these songs. Rather he views them from the perspective of an opera tenor who is specifically interested in the emotional intensity that constitutes the lifeblood of this music as much as a Puccini aria. However, whilst most of these songs were conceived for performance with piano or guitar accompaniment, Domingo has chosen to sing and record these canzone in newly prepared orchestral arrangements as have several other operatic tenors in recent years.

Well into his sixties, Domingo, ever the consummate musician never does anything by halves. His recent recording of Puccini’s Edgar (see review) and stage performances of Cyrano de Bergerac indicate his continued willingness to apply himself to learning and recording new repertoire. So it is here. I doubt if Lanza undertook language coaching to master the proper pronunciation of the Neapolitan dialect as Domingo has done for this recording. Whether the need applies to the song by his son (tr. 11) my command of Italian, let alone the dialect of the bay of Naples, precludes any comment. I do however recall that Placido senior had his son sing the shepherd boy in one of his recordings of Puccini’s Tosca. Keeping it in the family is a great principle, although I would note that Placido junior’s composition reflects the idiom well, merely extending the time-frame towards our present day.

Orchestral arrangements of these songs can give a uniformity of style that is not found in the original compositions and is, in some instances in this recording, a little overdone. With that caveat, I can only wonder at the sheer quality of vocal tone and expression that Domingo brings to the diverse emotions reflected in this collection. Also commendable is the clarity of diction and variety of vocal colour and weight that he brings to the songs whether it be in the populist Mamma Maria (tr.8) or the passionate Dicintello that follows it (tr.9). Domingo’s voice still has that free-sounding ping in its upper reaches and there is no tonal spread even when he puts pressure on at climaxes. As to Salvatore Cardillo’s ever-popular Core ’ngrato (tr.16) well all I can suggest is that you sit and glory as one of the greatest tenors of the past century enjoys himself.

As well as an introductory essay all the words are given with English translation. The recording is clear and true with no added ambience and the conductor adds supports to singer and music. ---Robert J Farr, musicweb-international.com

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1 	Have Yourself A Merry Little Christmas    With – Vincent Niclo
2 	Guardian Angels		With – Idina Menzel
3 	Silent Night	With – The Piano Guys
4 	What Child Is This		With – Helene Fischer
5 	God Rest Ye Merry, Gentlemen
 With – The Voices Of Los Angeles Opera's Domingo-Colburn-Stein Young Artist Program
6 	Hark! The Herald Angels Sing 	
7 	Pie Jesu (From Requiem)		With – Jackie Evancho
8 	Astro Del Cielo 	
9 	Loving Christmas With You		With – Hayley Westenra
10 	It Came Upon The Midnight Clear 	
11 	White Christmas		With – Plácido Domingo Jr.
12 	Ave Verum Corpus 	
13 	Feliz Navidad	With – Banda El Recado

Czech National Symphony Choir
Czech National Symphony Orchestra
Royal Philharmonic Orchestra
Eugene Kohn – conductor
Richard Balcombe - conductor

When government advisers keep telling us to cut down our sugar intake this disc might not be a bad place to start.

In a selection of seasonal standards from “Silent Night” to “White Christmas” the inimitable, if now sometimes vocally wobbly Plácido Domingo duets with heavenly choirs and guest singers, such as Vincent Niclo and Hayley Westenra.

The tinkly orchestral arrangements, big on snowflake effects and Christmas tinsel, are a throwback to middle-of-the-road LPs from the 1960s. The saccharine level ranges from red-flag warning to potentially fatal glucose overdose. --- ft.com

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Siegfried, opera, WWV 86c
01. Nothung! Nothung! Neidliches Schwert!
02. Was am besten er kann...Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert!
03. Daß der mein Vater nicht ist (Forest murmurs)
04. In der Höhle hier lieg' auf dem Hort!
05. Nun sing! Ich lausche dem Gesang

Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d
06. Tagesgrauen (Daybreak)
07. Zu neuen Taten, teurer Heide
08. Siegfrieds Rheinfahrt
09. Brünnhilde, heilige Braut!
10. Trauermarsch (Funeral March)

Placido Domingo - Tenor 
Alan Garner - English Horn
Simon Rayner - French Horn
David Cangelosi - Tenor
Natalie Dessay - Soprano
Violeta Urmana - Mezzo Soprano
Nigel Bates - Percussion
Royal Opera House Covent Garden Orchestra
Antonio Pappano - Conductor

Once again, Domingo surprises us. As Pavarotti pleads to fade into the memory bank, the Spanish tenor keeps working--learning, attempting to get into new idioms, keeping the voice amazingly fresh. As Siegfried, the voice is big and rich, and since the role never rises above an A-natural (at least not in the excerpts presented here) it's almost ideal for Domingo, sitting in the most potent part of his voice. Of course, you can hear the amount of energy that's being expended, but that's true of all Siegfrieds, and Domingo entirely avoids any marring of the vocal line with the infamous "Bayreuth bark"--a type of self-defense against Wagner's ferociously big orchestration. The "Forging Song" is splendidly energetic and thrilling and the "Forest Murmurs" section is quite lovely and moving.

The Götterdämerung excerpts are even better: the "Dawn Duet" is spectacular with Violetta Urmana's warm, text-involved Brünnhilde turning it into the real event it should be, and "Siegfried's Death" is beautifully shaded and inward. Throughout, Antonio Pappano leads the Covent Garden Orchestra with great zeal (the Rhine Journey and Funeral March are included) and it plays handsomely, although it's impossible to avoid noticing that at times the orchestra is recorded at a peculiarly low level (i.e., the recording favors Domingo), and that at truly pianissimo sections in the solo moments, the orchestra practically disappears. But this is a remarkable release of chunks of the Ring (including David Cangelosi's very colorful Mime, straight from the Gerhard Stolze-school of yelping, and Natalie Dessay's articulately chirpy Forest Bird)--and another huge feather in Domingo's cap. And if anyone's listening, a complete Brünnhilde from Urmana would be a joy. ---Robert Levine, ClassicsToday.com, arkivmusic.com

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01. Enrico Toselli: Serenata 02:45.42
02. Manuel Ponce: Estrellita 04:28.20
03. Jules Massenet: Elegie 03:02.73
04. Imre Kalman: "Die Czardasfuerstin" - Weisst du es noch? 03:55.20
05. Fritz Kreisler: The Old Refrain 04:59.80
06. Sergei Rachmaninov: When night descends, Op. 4 No. 3  03:03.04
07. Jacques Offenbach: "Les Contes d'Hoffmann" - Barcarolle 02:53.09
08. Paolo Tosti: Ideale 04:12.06
09. Traditional: Danny Boy 03:34.86
10. George Frideric Handel: "Serse" - Ombra mai fu 03:12.04
11. Sigmund Romberg: "The Student Prince" - Serenade 03:54.89
12. Benjamin Godard: "Jocelyn" - Berceuse 04:45.66
13. Pyotr Il'yich Tchaikovsky: None but the lonely heart, Op. 6 No. 6  02:39.00
14. Richard Strauss: Morgen, Op. 27 No. 4  03:22.40
15. Sergei Rachmaninov: Oh, cease thy singing, maiden fair 03:56.84

Plácido Domingo – tenor
Itzhak Perlman – violin
New York Studio Orchestra
Jonathan Tunick – arranger, conductor

Recorded in 1990.

Wow! What can I say? It is so obvious who rules the stage when it comes to violin virtuosos. Itzhak Perlman takes my breath away every time I hear his bow touch a violin and to be playing with one of the world's best vocalists alone shows some accomplishment. Of course... it goes without saying that Domingo is probably THE BEST tenor of this lifetime. My personal favorite on this CD is the "Offenbach". I've heard this piece sung and played by many artists, but none of them come close to this recording and it truly touches your heart and soul. This CD has definitely become a favorite of mine and I cannot seem to put it back in its CD case! This album is definitely worth getting for one's self and I would even say it is also a very nice gift idea, that even non-classic listeners would appreciate. ---Rebecca Parker, amazon.com

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Walkure: Act I

Siedmund................Placido Domingo
Sieglinde...............Waltraud Meier
Hunding.................Hans Sotin

Otello: Act I 

Otello..................Luciano Pavarotti
Desdemona...............Kallen Esperian 
Iago....................Sherrill Milnes
Cassio..................Mark Baker
Montano.................Kim Josephson
Roderigo................Charles Anthony

Il Trovatore: Act III

Manrico.................Placido Domingo
Manrico.................Luciano Pavarotti
Leonora.................Kallen Esperian
Luna.................Vladimir Chernov
Azucena.................Dolora Zajick
Ferrando................Paul Plishka
Ruiz....................Luciano Pavarotti

For Act III of Il Trovatore, the role of Manrico was billed as "To Be Announced." 
Placido Domingo began Act III, Scene 2 and sang "Ah, si ben mio" Both Pavarotti entered as Ruiz. 
Luciano sang "Di quella pira" and was "joined" by Placido for the final note.

Metropolitan Opera House
September 27, 1993 Broadcast
Opening Night {109}

Joseph Volpe, General Manager

In celebration of Plácido Domingo's and Luciano Pavarotti's
twenty-fifth anniversaries with the company

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01. Caminito
02. Nostalgias
03. Volver
04. Vida Mia
05. Mi Buenos Aires Querido
06. El Dia Que Me Queras
07. Uno
08. Maria
09. Alma de Bohemio
10. Cuesta Abajo

Plácido Domingo – tenor
Roberto Pansera – conductor, arranger

Placido Domingo sings tangos ? Yes indeed, as the other reviewer points out, while he was performing at the Teatro Colon in Buenos Aires in the early 1980's he and the orchestra found time late at night to record enough for this album. He says he 'always liked this music' and he 'adjusted his Spanish to sound like that of Buenos Aires' for this occasion ... not all tango enthusiasts loved it, but it is a fine rendition of the most well known tangos, and he 'avoided those of slum life' as it would not have been suitable for him; still 'there were so many other good ones'. ---Thinker, amazon.com

Esta grabación fue efectuada por Placido Domingo en Argentina, durante 1980 o a lo sumo 1981, no recuerdo muy bien, y en su momento el disco en su version de vinilo fue lanzado ese mismo año de la grabación. Unos años despues, conseguí el compacto, cuya calidad es excelente. La performance de Placido es impecable, y acompañado por una legión de maestros del tango, el resultado no podía ser otra cosa que brillantísimo, aunque en su momento aqui en Argentina fue un disco muy criticado, lo que más comunmente se decía de el era que Placido Domingo era demasiado lírico como para cantar tangos, que le "sobraba" voz, y otras cosas por el estilo. Quizas hasta cierto punto eso pueda resultar cierto, pero las criticas obedecían a un preconcepto como que no se podía inventar nada nuevo en tango, que ya en el 40 todo estaba inventado, que no se puede comparar con Gardel, etc. Dejando de lado estas criticas, indudablemente el resultado es un disco histórico, cada tango logra un clima único en la voz de Plácido Domingo, distinto de todo lo conocido hasta ese momento.

"Caminito" y "Mi Buenos Aires Querido" son una verdadera joya, aunque a mi gusto el mejor tema del disco quizás sea "Alma de Bohemio". Teniendo en cuenta el corto tiempo en que se grabó, no mas de dos semanas, la calidad alcanzada permite catalogar este trabajo como una obra maestra. Muy recomendable para todos los que gusten del tango, salvo para quienes sigan pensando que todo se terminó en el 40. ---Music Fan, amazon.com

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