Helene

It's not a complete non-apology in the typical "I'm sorry if your feelings were hurt [#sorrynotsorry, snowflake]" boilerplate, but that underwater standard shouldn't obscure the valid criticisms that @Syzygy points out.

I've suffered enough 24-hour flus that I've gotten from other people who suffered from 24-hour flus and probably gave the 24-hour flu to others who then suffered from them. Nothing gentlemanly was needed and nothing mysterious about when we showed up to work when it was over. There aren't two official, conflicting reasons for her withdrawal: that needed to be co-ordinated: there's one, plus a newspaper article that questions the official press release, partly by quoting Copeland -- before the press release? after the press release -- but not in the context of an official, conflicting statement. The article is making the case that she wasn't ready and that was the real reason for her withdrawal. Whether she should have accepted with a short time to learn (or integrate) it in the studio -- many dancers come in having learned the bulk of the choreography from working on it in advance, through the video -- even if she didn't have an injury to take into consideration, one that would stymie that kind of pre-prep -- is a big question, but the way I read the translation, the article is pointing the finger at the theater for taking the risk of hiring her for a new role under those circumstances, because it's the audience who is hurt by the situation.

Marcie Sillman interviewed Sarah Orza about her training and part-time career as a post-partum doula: https://kuow.org/stories/the-doularina-a-ballet-dancer-becomes-a-doula-in-seattle

Is Copeland the first and only example of this casting policy? It seems to me that I observed it long before Copeland was cast in lead roles and since with other dancers. And often the arguments about it are the same: senior ballerinas getting cast for performances which limit the chances for younger ballerinas to break in in the first place, and then when they get a performance, there's no chance to grow.

I have my doubts about AGMA acting sooner if they had. Different times. Plus, the reasons why the women didn't lodge a union complaint are likely the same as why they didn't push management, even if they went to management. Just like the union might have gotten Ramasar reinstated at NYCB under his current, but couldn't guarantee he'd be offered another.

Not surprising at all, given that European opera houses in general rely primarily on state funding.

And no one should have to make a career decision after being backed into a sexual corner.

Another "nobody" weighs in on sexual harassment in the opera workplace:

There are allegations that it is still ongoing, but that doesn't mean the women are currently performing. Susanne Mentzer, hardly a nobody in the opera world, described in a 2017 article why she said nothing in what seems like a repeat of the same explanation that hundreds of thousands of women have written or commented on or posted across internet and social media: https://m.huffpost.com/us/entry/us_12418352 There are similar reasons that every figure skater who accused John Coughlin publicly did so after they were out of the sport. There are similar reasons why every gymnast who went to the police about Larry Nassar was no longer in the sport, and why active gymnasts stopped filing complaints when zero happened after they escalated to Michigan State administrators -- employees of tax-payers -- who dismissed and buried their complaints. Biles is about the only active gymnast who is untouchable, and she came out with her story only after hundreds of other retired athletes did. When someone or an organization has control over your profession, and the standards are non-professional ones, you should not have to be a hero or a human sacrifice to get action. Even if you are initially flattered by someone's interest and attention.

A lot has changed in thirty years. Some has changed and some has not. One thing that's changed is that when these singers were active, many decades ago, reporting to AGMA or to upper management was, essentially useless and a career-killer, and that the women speaking now are no longer in the business, so going to the Board where Domingo was top dog or to the General Director where he wasn't, isn't relevant, because they stopped being employed. As far as finding a journalist, either they did or a journalist found them, because the AP article I was published, and it didn't read like something that had been pushed out without painstaking research and legal review.

That worked really well for working actresses 30 years ago, too.

We don't know if anyone had a meeting with him or not. There were plenty of examples of men with unsavory reputations, and nothing much happened to them until lately.

I'm glad that I live in a place where there is at least the possibility of action against illegal activity.

At the Met, for Macbeth, he's currently scheduled for the first three performances, with Lucic assuming the last three. For Butterfly, he is scheduled for all performances of Sharpless, including the Nov 9 Live in HD. Macbeth is not in this year's series.

Domino had plenty of bob in the bank when the described behavior took place. Three Tenors was where the big money was, and that ship has long sailed. At this point, it's almost entirely the opera houses or boards of the companies he directs at this point who support what, in my opinion, is a diminished career, a far longer experiment than Michael Jordan's short foray into baseball. His schedule doesn't leave that much time for self-produced recitals.