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Plácido Domingo, Opera Star, Accused of Sexual Harassment

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She said she kept saying no to Mr. Domingo until he stopped, about two and a half years later.

In his statement, which was initially made to The A.P. and later sent to The Times, Mr. Domingo said that he believed all his encounters were consensual.

“I believed that all of my interactions and relationships were always welcomed and consensual,” said Mr. Domingo, who has been married for more than 50 years. “People who know me or who have worked with me know that I am not someone who would intentionally harm, offend, or embarrass anyone.”

At the Salzburg Festival in Austria, where Mr. Domingo is scheduled to sing in concert performances of Verdi’s “Luisa Miller” this month, Helga Rabl-Stadler, the festival’s president, said that he would perform as planned.

“I have known Plácido Domingo for more than 25 years,’’ Ms. Rabl-Stadler said in a statement. “In addition to his artistic competence, I was impressed from the very beginning by his appreciative treatment of all festival employees. He knows every name, from the concierge to the secretary; he never fails to thank anyone performing even the smallest service for him. Had the accusations against him been voiced inside the Festspielhaus in Salzburg, I am sure I would have heard of it.”

Joseph Volpe, the general manager of the Met from 1990 to 2006, also said that he had never heard any allegations against Mr. Domingo. “I’ve known Plácido since he made his debut at the Met in 1968, and there was never, ever a complaint made against him about sexual harassment,” Mr. Volpe said in a telephone interview. “He’s such a gentleman, and so caring about people.”

Current officials at the Met and at Los Angeles Opera — Mr. Domingo is scheduled to perform with both companies this season — did not immediately respond to emails seeking comment, nor did officials at Washington National Opera.

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Editorial

Anna Torv of ‘Mindhunter’ on Playing It Cool, if Not Straight

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[This article contains spoilers for Season 2 of “Mindhunter.”]

The Netflix drama “Mindhunter” is about an F.B.I. unit that studies serial killers, but the series is all tell, no show — most of the violence is described rather than depicted.

Another sleight-of-hand is that one of the most compelling characters in the second season, which dropped on Aug. 16, is not one of the killers or agents but the unit’s coolly dispassionate psychologist on loan from academia, Dr. Wendy Carr, as portrayed by the Australian actress Anna Torv.

Torv first came to the attention of American viewers on the Fox series “Fringe” (2008-13), in which she played both the F.B.I. agent Olivia Dunham and her alternate-universe version, referred to as Fauxlivia. At one point they even fought each other, predating Tatiana Maslany’s clone wars on “Orphan Black” by a few years.

Wendy’s calm aloofness is most likely a byproduct of her analytical mind and of being a closeted lesbian in law enforcement, and Torv plays it with a minimalist precision that does not preclude a certain sneaky warmth. Watching her performance is like listening to Dusty Springfield in a world of Mariah Careys.

“She gives everything ‘depth,’” said David Fincher (“Seven,” “Zodiac”), an executive producer and director on the series, in an email. “Her perceptible thoughtfulness is always ‘on’ — even when it’s understated.”

He added: “She knows that Dorothy has to leave the Yellow Brick Road from time to time and that drama lies in the areas that are often ‘off limits’ or ‘out of bounds’ for what’s been established for Wendy.”

Season 2 includes major developments for Wendy, who conducts her first interviews with killers and develops a romance with a free-spirited bartender, Kay (Lauren Glazier). Yet throughout, Torv maintains a poise that is almost hypnotic. In a phone interview Thursday, she spoke from Los Angeles about the outsize emotional expectations placed on actresses, and about the extra challenges of playing such a stoic role. These are edited excerpts from that conversation.

True crime has long inspired pop culture. Was it a subject you were ever interested in?

It’s not something I’ve spent a lot of time thinking about, honestly. I started with John Douglas’s book, [“Mind Hunter: Inside the F.B.I.’s Elite Serial Crime Unit,” written with Mark Olshaker], and did a bit of research on the serial killers that we were talking to on the show. I don’t find it particularly pleasant to go deep into that. My character has a little bit more of an intellectual approach to it — not that it doesn’t seep into her life, which is a lot of what the show is about.

Then I started reading about psychopathy and sociopathy and all of these different personality biases that exist on a spectrum and don’t always result in someone’s becoming a serial killer. We all know narcissists [laughs]. They operate in the world and don’t all go out and kill people.

It has been said that Wendy is based on a woman named Ann Wolbert Burgess. Did you meet her?

No. When I started the book, I realized, “Oh, she is probably Ann Burgess,” but we took it so far away from her that I think it would do Burgess a disservice to say that. It’s just a completely different character.

Wendy shows very little outward emotion. The strong, impassive type is relatively common among male actors, but we don’t see that so much from actresses.

What I find fascinating is that when you’re an actress, you don’t even realize that the majority of the time you end up carrying the emotional weight of whatever scene you happen to be in. If someone’s going to cry, it’s going to be the girl. If someone is emotional and having a meltdown, it’s going to be the girl. And so you end up getting really good at it. Not even getting good at it — it’s just the expectation, so that’s what your instincts end up honing. All of a sudden to be in the skin of this woman who is just so dry … Anytime I showed a flicker of something, especially in the beginning, David would be like, “Please, pull it back.”

How much of it was in the script?

The writers do a beautiful job but, there aren’t a lot of physical directions. We do have the luxury of rehearsals. One of my favorite scenes is the first time Kay and Wendy sleep together after they’ve been on a date, and the aftermath of that. I really love that scene, and [the director Andrew Dominik] gave a couple of gorgeous, playable character notes.

Do you feel the emphasis on understatement when playing Wendy reflects the series’s general approach?

David has set up the show, and even though we have other beautiful directors come in, he was the tastemaker. Building suspense, drama or action in a show about serial killers with no blood, no action and no guns, that’s the choice. Sometimes people think shows or stories should just hit the audience over the head with what they’re wanting to say, and they don’t give people enough credit.

David always says this one thing that I think is so right: “I don’t want to see two people having an argument where one’s right and one’s wrong. I want to see two intelligent people who are both right.” That’s what makes the show smart and not engulfed in melodrama.

Is that what ultimately happens between Wendy and Kay — they are both sort of right and sort of wrong?

The heartbreak is that it was a relationship that could have been something, that should have worked. Wendy studies patterns of behavior, but she’s totally incapable of holding the mirror up, which I think is true of all the characters.

The show hasn’t been officially renewed for a third season yet, but Fincher is said to have a five-year plan for it. What would you like to explore with Wendy?

With the relationship with Kay, we were able to see a bit more of Wendy outside of the office. You understood her a little more, like you could go, “Oh, there are three dimensions to her — that side is just the way she has to live her life at the office.” I was incredibly grateful to have these opportunities. So I guess more of that [laughs].

Your character in the Australian thriller “Secret City,” whose second season came recently to Netflix, is involved in quite a bit of action. What was fun about that project?

I thought it was a really smart show and it was executed beautifully — and we shoot so quickly in Australia, it’s incomprehensible the kind of difference in that respect between shooting in the States and shooting in Australia. There, we do one, two takes max, and good luck. I also wanted to work at home. To go back to Australia and sit down to a table read with people you’ve come up with was warming.

And maybe they don’t mistake you for Carrie Coon over there.

Poor Carrie Coon! I feel terrible, but I’m also flattered because she’s fantastic and beautiful.

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Editorial

‘American Girl’ & Me

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Over the course of the books, each heroine celebrates her birthday and Christmas (later, a Jewish doll was introduced, but this was well after my time), does some kind of summer recreational activity, makes at least one friend, thwarts at least one enemy and establishes some kind of companionship with an animal. She also speaks reverently of her own doll; you can buy your doll a doll, too, but she is sold separately. I was a through-and-through American Girl fan, and I remember dutifully arranging the books on my bookshelf, though the more vivid memory is reverently reading every page of the catalog.

American Girls Podcast is moving chronologically through history, not the order in which the dolls were released, so they began the show with Felicity. Current episodes focus on Josefina, who lives in the 1820s in what is now New Mexico. (She wasn’t introduced to the collection until 1997, after my doll days had passed.) Kirsten, a Swedish immigrant who lives in the Minnesota Territory in the 1850s (and my personal fave), will be next, followed by Addy, the first black American Girl doll, and whose first book includes her and her mother escaping slavery. Then comes Samantha, an orphan raised by her grandmother in 1904 New York. Finally, there will be Molly, an Illinois girl whose father is serving overseas in World War II. After it finishes with the original lineup, the podcast will cover the newer characters — like Nanea, who lives through Pearl Harbor, and Julie, who’s into folk music in the ’70s — in the order in which they were introduced.

Here’s what I remembered about the books: Mad, roiling jealousy that little girls got to have bodacious adventures 100 years ago and all I did was play softball and sing in choruses. Might I, like Kirsten, be named Lucia queen to celebrate St. Lucia’s day, wear a candle crown and present my family with cinnamon rolls? No, Margaret, the adults in my life would say. We are not Swedish, and you are not allowed to use the oven by yourself.

Might I embody the spirit of the American Revolution by rescuing a horse, and also by subverting expectations at my stuffy etiquette classes? Well … feel free to turn your spoon however you want, but no one else knows the norms of Colonial tea settings, so be prepared for that to go unnoticed.

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Editorial

‘Hot Air’ Review: A Right-Wing Radio Host Learns to Love Again

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Don’t get too excited about the prospect of Steve Coogan playing an American right-wing radio host. The British actor’s comic wings are clipped in this sincere but unwieldy film about a abrasive radio personality whose heretofore-unknown African-American teenage niece shows up at his fancy New York City apartment.

Tess (Taylor Russell) has left home after her mother returned to rehab, and while the by-the-bootstraps blowhard Lionel Macomb (Coogan) doesn’t believe in handouts or charity or even kindness, he reluctantly lets her stay. His publicist and girlfriend Valerie (Neve Campbell) is nicer to the girl, and soon, points of view are being challenged and upsetting family memories are being unearthed.

Directed by Frank Coraci, the film feints at comedy with background gags and an occasional broad performance or two, but it’s primarily a dramatic story — and not a focused one at that. As uncle and niece learn more about one another, Lionel faces competition from a former employee who has adopted a sunnier, blander variation on the conservative loudmouth persona.

The movie seems afraid to follow through on any one emotional through line, and instead throws a whole bunch together. The script, by Will Reichel, jumps between Tess and Lionel’s challenges without ever entirely convincing us that their fates are connected. We feel like we’re watching two very different movies, neither of which is particularly engaging.

Amid the tiresome speeches about the American dream and tearful reconciliations, Coogan gets some big scenes, but anyone familiar with what this actor is capable of may wonder why he was cast in the first place.

Hot Air

Not rated. Running time: 1 hour 39 minutes.

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