Ieri notte ho ricevuto questo msg dall''uff. stampa del Teatro Municipal di Santiago. Credo che si capisce: DOMINGO da Sulpice

"Señores periodistas,

Se informa de un cambio en el reparto de la ópera la Hija del Regimiento de G. Donizetti.
El rol de Sulpice serà llevado a cabo por el cantante español Plácido Domingo. El Sr. Domingo ha querido de esta forma homenajear nuestra Sala Lírica, en su Aniversario número 150.
De esta manera, se completa el cast de dicha ópera luego de la cancelación del barítono italiano Andrea Concetti.
Como es de público conocimiento el tenor peruano Juan Diego Flórez ha cancelado su participación en dicha ópera. De esta forma cumplimos el anhelo de contar con un nombre ligado a nuestra ciudad.
Plácido Domingo volverá a nuestro país el 27 de Mayo. Al otro día se realizará una conferencia de prensa en el hotel Crown Plaza.

Atte,
Prensa Teatro Municipal"

в интерьер не впишется

Поменяй интерьер. Ради такого-то случая.  001

Mercadante: Il Giuramento
Christopher Norton-Welsh, Opera News, December 15, 1979

Lucky the opera house that can call on Placido Domingo as a last-minute substitute. When José Carreras walked out on the season's opening-night all-star gala, Domingo took over the extra spot. However, when illness made Peter Dvorsky cancel the premiere of Mercadante's Il Giuramento scheduled for September 9, Domingo had only four days to learn the part. The Mercadante was given three concert performances, a style of presentation not seen in the State Opera since the reopening; it was once in the repertory here, but that was more than 120 years ago, so the general public showed a predictable lack of interest. Yet the piece is just the style they demand-emotional melody, colorful and exciting scoring.

In the short rehearsal time available, conductor Gerd Albrecht trained chorus and orchestra superbly. Opulent singing was provided by three of the four main soloists. The exception was baritone Robert Kerns, who was clearly indisposed. Domingo was understandably nervous at the start and sang with caution till his second aria. This is one of the most forward-looking numbers in the score, and Domingo displayed all his prime qualities - effortless power, honeyed mezzo-piano phrases and a sense of endless line. New to Vienna was soprano Mara Zampieri, whose varying from a tightly controlled piano to a wild, vibrato-laden forte took some getting used to. She is an intelligent musician and produced some beautiful singing. Nothing was more beautiful than the ravishing second-act duet with mezzo Agnes Baltsa, both voices blending perfectly and matching phrase for phrase. Miss Baltsa herself is no mean singer, with one of the best all-round vocal techniques today and a most expressive voice

Но здесь есть один маленький, но очень значительный плюс перед записью с Морино

Тем, кому в опере еще и замечательное пение и прекрасные голоса интересны. tonq11

My first choice is the Nuova Era recording conducted by Giuliano Carella because of the presence of a "star" tenor, Giuseppe Morino, who exhibits some wonderful top notes, and because of the fine presentation which includes a libretto, and, separately a translation in French. There are several other recordings, some being without any libretto. Another version available at one time on LP was a Vienna broadcast from 1974 with Mara Zampieri and Placido Domingo. It is difficult to recommend this version because the baritone aria in the third act is omitted.