Placido Domingo was signed to record Emile in South Pacific, with Te Kanawa. He then told Sony that he also wanted to record the part of Lt. Cable at the same time- giving him the beautiful song, 'Younger than Springtime.' Sony balked, and Placido was out, and Carreras was in as Emile, with Mandy Patinkin as Cable.

I don't think Jessye Norman would approach Ethel Merman's intensity and delivery for 'Rose's Turn' at the finale of Gypsy. I think Malfitano would certainly have the personality for that role, and would make a perfect example of an opera star who would excel in musicals. Same for Ramey.

The finest recordings of Carousel and Showboat ever made, in my opinion, were made in the mid 50's - both starring Robert Merrill and Patrice Munsel, with Rise Stevens as Julie in the Showboat, and Florence Henderson as Carrie in Carousel, along with the fine mezzo Gloria Lane as Cousin Neddie. It wasn't called 'crossing over, back then. Just fine voices recording beautiful music.

Merrill performed Tevye over 500 times on tour, and Jan Peerce did it for an extended run on Broadway in the early 70's. Robert Weede was fantastic in Most Happy Fella', and also in Milk and Honey, which I saw, and which also starred Mimi Benzell.

Siepi appeared in two musicals, receiving great notices for shows that were mediocre at best. Rise Stevens starred in the revival of The King and I at Lincoln Center in the mid 60's - after her retirement from the Met.

Not too many musicals today are written for real operatic voices. The singers all have the mikes attached to their tonsils, and sound as loud as Melchior when they sing piano.

Phooey, say I.