Edition: U.S. / Global

A Busy Man of Opera Gets Even Busier; Domingo, Artistic Director in Washington, Is 'Upgrading' His Job in Los Angeles

Published: November 9, 1998

Even by his own standards, Placido Domingo has accomplished an extraordinary hat trick in recent weeks. At the same time he was discussing extending his contract at the Washington Opera, where he has been artistic director since 1996, he was also meeting individually with members of the board, and with the entire executive committee, to explain why they should not be alarmed at his decision to become the artistic director of the Los Angeles Opera while continuing to hold the reins in Washington.

Mr. Domingo's contract in Washington ends in 2002, and the extension under discussion would take it to 2004. The Los Angeles post, which was announced last week, begins in July 2000. The announcement comes at a time when the Los Angeles company is hoping to increase its number of productions and performances, and Mr. Domingo says he is willing to curtail his own performing schedule in order to keep up with his new responsibilities.

Still, Mr. Domingo says he regards his Los Angeles position as more of an upgrade than an entirely new job. His connection with the company goes back to its founding in 1984. At first, he signed on as a member of its board, and when Peter Hemmings became its first general director, Mr. Domingo took the title of artistic consultant. He sang the title role in the company's first production, ''Otello,'' in 1986 and became artistic adviser in 1995.

At 57, he now succeeds Mr. Hemmings, who is retiring at 64. Mr. Hemmings has already planned the 2000-01 season, so Mr. Domingo's own programming will not be seen until 2001-02.

''I think of my new position as an upgrading,'' Mr. Domingo said in a telephone interview between rehearsals in Washington, ''because as artistic adviser I was involved in discussions with Peter Hemmings about the productions, the casting. It was a collaboration, although it was minor compared with what I will have to do now.''

Still, Mr. Domingo's dual directorship raises questions. The most immediate is: Where in his schedule is the room to pencil in further commitments? He continues to give more than 60 performances a year in international opera houses, and in recent years he has been conducting as well, both in the opera pit and on the symphonic podium. Every four years, when the World Cup games are played, he joins Luciano Pavarotti and Jose Carreras to trawl for megabucks as the Three Tenors. He sponsors Operalia, which is billed as the world's largest opera competition, held annually. And to keep things exciting, he owns a restaurant, called Domingo, on East 49th Street in Manhattan.

If the Washington Opera board members have doubts about Mr. Domingo's ability to run two companies effectively, they have not expressed them publicly. Robert Craft, the president of the company, said that after he faxed board members to warn them, on Oct. 30, that the Los Angeles appointment would be announced the following Monday, he received no protests, comments or questions.

Mr. Domingo and spokesmen for both companies have advanced a variety of reasons why the dual directorship poses no problems for either side. But weighing heavily in the equation is something the companies do not go out of their way to point out: Mr. Domingo's value as a fund-raising asset more than offsets any problems that might be caused by potential scheduling conflicts.

Opera companies, and arts organizations in general, learned long ago that if they are associated with an artist who is a household name, corporate and private donations flow more freely. Beverly Sills discovered this when she was director of the New York City Opera, and she has continued to put her celebrity to use in raising money as chairwoman of Lincoln Center. Mr. Domingo, as one of the best-known opera singers of his generation, has proved to be a similar lure.

No Mere Figurehead

But those in the opera world who expected Mr. Domingo to be little more than a money magnet have been surprised at his hands-on approach to the Washington job. No mere figurehead, he taken charge of the company's programming, offering both standard repertory and unusual works. His success has been mixed: rarities like ''Il Guarany,'' by the 19th-century Brazilian composer Antonio Carlos Gomes, and the company's current production of Verdi's ''Simon Boccanegra'' have been skewered by critics; others, including a revival of an American classic, Douglas Moore's ''Ballad of Baby Doe,'' have fared better.

Mr. Craft, noting that Mr. Domingo has also been involved in administrative aspects of the Washington company, said the level of energy he had brought to his work helped persuade the board that his taking on another directorship would not be a problem.

''I really don't think there were doubts expressed in the executive committee after hearing him explain how he could do both these jobs,'' Mr. Craft said.

Part of Mr. Domingo's presentation, both Mr. Craft and Mr. Domingo said, was a demonstration that the production schedules of the two companies did not overlap, allowing Mr. Domingo to focus on each during crucial times.