"Here is Domingo at the New York City Opera, in 1970, where he had many of his early triumphs, opposite Beverly Sills in one of her greatest roles, the marvelous singing-actress Susanne Marsee in her City Opera debut, and Louis Quilico, conducted by Julius Rudel. Domingo called Sills, 'the greatest vocal actress I have worked with.'"
"Domingo made his operatic debut in 1959, in Mexico City, as Borsa in 'Rigoletto,' opposite Cornell MacNeil and Norman Treigle. When the latter came to record his greatest role, in 1973 (for EMI), he insisted on Domingo singing Faust. The recording is frightening, overwhelming--and definitive!"
"This 1976-77 set is filled with excellent characterizations, including Renata Scotto's Sister Angelica and Giorgetta, Marilyn Horne's Zia Principessa, Domingo's Luigi and Rinuccio, Tito Gobbi's Gianni Schicchi, and Ingvar Wixell's Michele."
"While some will prefer Jon Vickers' extraordinary, grand, moving Moor, Domingo sings beautifully in this 1978 account, for RCA. Scotto brings great pathos to her role, and is the most memorable Desdemona on studio recordings."
"In some respects, this 1978 recording is the finest yet of 'Cavalleria rusticana,' what with Scotto as an exceptional Santuzza, Domingo as a fiery Turiddu, and Pablo Elvíra a fine Alfio. As the tenor once wrote of La Scotto, 'Her voice and dramatic involvement were outstanding and unforgettable.'"
"History will probably recall Cio-cio-san as Scotto's greatest role. She here presents herself as a great singing-actress, and perhaps the greatest musician among Italian sopranos. Domingo is again a grand Pinkerton, and Gillian Knight is the most interesting Suzuki on record."
"This is one of Domingo's most controversial recordings (1981), because of the casting of Ricciarelli as the Princess Turandot. For once, however, we have an anti-heroine who does not sound like a laser-beam or a roaring shrew; she is plausible, rather, as a great beauty. Barbara Hendricks and Ruggero Raimondi are also excellent, and Domingo is found at his most heroic."
"Franco Zeffirelli is here at his most vulgar, and the score is cut well beyond the acceptable point, but Teresa Stratas is extraordinarily moving in the hapless title-role, Domingo is ardent and handsome, and MacNeil a truly grand Giorgio Germont (1982)."
"Domingo wrote that Luca Ronconi staged 'Ernani,' 'in a controversial manner' at the Teatro alla Scala, in 1982. So be it, but one is unlikely to ever see a grander, more fascinating and challenging production of a Verdi opera. The sets and costumes are glorious, as well. Domingo is ideal as the bandit of the title, and Riccardo Muti's conducting surpasses all rivals."
"At long last, we were given a recording of 'Don Carlos' in the original French, rather than the tired Italian translation. Domingo is surrounded by an excellent cast, including Ricciarelli, Lucia Valentini Terrani, Leo Nucci, and Raimondi, and is conducted by Claudio Abbado in arguably his finest recording (1983-84)."
"This 1984 production was one of the Metropolitan's greatest successes, in Faggioni's really grand staging. Scotto is simply sublime; her acting must be seen to be believed. Domingo plays Paolo il Bello, and fulfills every aspect of a difficult role. MacNeil roars like a beast as the wronged husband. Natalia Rom portrays an extraordinary Biancofiore, and James Levine's conducting is ideal."
"Shirley Verrett is a great and exotic success in the name part of this opera, with Domingo as an heroic Vasca da Gama. Justino Díaz and Michael Devlin are also tremendous in this provincial staging (1988). Hopefully, Domingo's telecast of 'Fedora' (with Scotto and Vicente Sardinero) from the same year, will be published on DVD."
"Domingo sings beautifully as the Swan Knight, in an ordinary production from 1990, but Dunja Vejzovic sweeps all before her as the evil Ortrud. Few characterizations on film approach the fire and rage this singing-actress conjures in her imprecations!"
"The always brave and adventurous Mr Domingo not only undertook a world-premiere of a difficult score in 2007, but triumphed in it! Elizabeth Futral is one of today's greatest prima donnas, and scores a triumph, as well."
"Maestro Domingo continues to astound, here triumphing as Neptune in the Metropolitan's new baroque pastiche (after Shakespeare) in his seventieth year! Also marvelous in this 2011 cast are Danielle de Niese (as Ariel), Luca Pisaroni (as Caliban), and the exquisite Lisette Oropesa (as Miranda)."