CHICHEN ITZA, Mexico - Tenor Placido Domingo's choice of a classical program peppered with local music and help from Mexican pianist and crooner Armando Manzanero appeared to smooth the controversy surrounding his Saturday concert at the Mayan pyramids of Chichen Itza.
The Spanish-born Domingo grew up in Mexico, and enthusiastic fans in the southern state of Yucatan erupted in applause on Saturday at his "Concert of 1,000 Columns." Many here see it like a homecoming; one of Domingo's first performances was in Yucatan in 1957.
The singers were dwarfed by the hulking mass of the site's main pyramid, eerily illuminated in red against a black sky, and the performance began with Mayan-style music from The Monumental Chorus of the Mayab, accompanied by Indian drums.
Despite intermittent drops of rain, Domingo opened masterfully with the inspiring "O Souverain" from Massenet's Le Cid.
Domingo and local hero Manzanero won a standing ovation for a duet - which the Mexican sang party in Mayan - on Manzanero's love ballad "Adoro."
"It is marvelous to be here," Domingo said during a break.
The estimated 4,000 fans attending seemed unconcerned about complaints that the concert and others like it exploit or misuse the 1,200-year-old Mayan ruins. The concert's name is a reference to a temple platform at Chichen Itza crowned by rows of columns.
"It is an honor for us to have a concert like this," said Armando de Leon from the nearby city of Merida.
Herman Segovia came all the way from San Antonio, Texas, to hear Domingo, whom he called "an artist of high quality."
"I don't think the site will be damaged. This is a controlled event," Segovia said.
Karen Eddy, originally of Toronto, traveled to the concert from her current home in Mexico City because "I thought it would be magical, just magical" to see Domingo sing in front of the towering main pyramid.
Archaeologists and activists have complained that concerts like Saturday's expose ruin historic sites and degrade their cultural significance by treating them as mere backdrops.
Mexico's federal government turns down most requests to hold concerts at ancient temples. But it faces increasing pressure from state governors to promote ruins which, critics argue, are already swamped with tourists.
Officials did impose limits on stage and seating structures and the number of spectators for Domingo's concert, ensuring that it would be smaller than tenor Luciano Pavarotti's 1997 appearance at Chichen Itza, which drew 17,000. Since then, more than a half dozen concerts have been held at or near the ruins.
Since then, more than a half dozen concerts have been held at or near the ruins.
Despite intermittent drops of rain, Domingo opened masterfully with the inspiring "O Souverain" from Massenet's Le Cid.
Domingo and local hero Manzanero won a standing ovation for a duet - which the Mexican sang party in Mayan - on Manzanero's love ballad "Adoro." Manzanero, a Yucatan native, is best known for his interpretation of ballads such as "Contigo Aprendi" and "Nada Personal." The Indian language is still spoken by almost a million people in the region.
The Spanish-born Domingo grew up in Mexico, and enthusiastic fans in the southern state of Yucatan erupted in applause on Saturday at his "Concert of 1,000 Columns." Many here see it like a homecoming; one of Domingo's first performances was in Yucatan in 1957.
Domingo sang Zarzuela from his native Spain, and drew a swell of applause for the classic Granada.
But the audience went wild when, in an encore, Domingo donned a silver-buttoned suit like the ones used by Mexico's cowboy-singers and belted out mariachi classics like "El Rey", at times asking the audience to sing along.
The program also included the melancholy, melodic "Lamento di Federico" from Francesco Cilea's "L'Arlesiana," and the soaring "Gia nella notte densa" from Verdi's Otello. The classical repertoire ended on a strong note with "No Puede Ser" from Sorozabal's La Tabernera del Puerto.
