Ed Rosen's review was pretty dead on. I thought Domingo was in good voice. His voice carried well to row e, seat 224 of the Family Circle. It was warm, covered and had a naturally amplified quality. Aside from the shaky upper register, his middle voice is much bigger than Pavarotti's and you didn't have to strain to listen to him. He was a pleasure.

Bias aside, Carreras really was the highlight of the evening. His voice was warm and had a nice silvery tenor ping. He was smart not to hold some of the high notes as long as he would have in the past. The people sitting next to me, who were newcomers to opera, were moved by his voice and performance. His 'L'oins d'ici' was incredible. He sounded like a young di Stefano or even better, a young Carreras. The applause, bravos and flowers at the curtain calls were very moving. I hope Volpe and Levine took notice.

Pav was indeed a little stiff and shaky. But the applause at the end of his aria was overwhelming. Maestro Levine was kind enough to stop the orchestra and Pavarotti stepped out of his role and showed his appreciation. His fall was a little scary. I was hoping that he would joke about it with the audience but he just went on. The duet with Jane Eaglen as Turandot was the only low point of the evening. Her soprano drowned him out and you really had to strain to hear him in the Family Circle.

All in all, it was a great evening. I had walked around with a sign attached to my shirt that said, "I need one ticket". I think I was the only one out of about fifty people who got lucky.

This is how the three tenors should be heard. No 'O sole mio' , no 'La donna e mobile', 'My way' or 'New York New York'. Just three legendary tenors in their element.

Maybe next year, Domingo will sing Act 3 from Tosca, Carreras will sing Act 1 from Boheme and Pavarotti will sing Act 3 from Lucia. But I won't count on it.