Late Tuesday, opera megastar Plácido Domingo stepped down from his upcoming performances at the Metropolitan Opera, following numerous allegations of sexual misconduct. Though Domingo continues to dispute the stories of almost two dozen women, as he has since the allegations first appeared, he said his presence in the production of Macbeth would “distract from the hard work” of his colleagues. In response, the Met issued a press release that seemed to imply that the opera house had asked him to leave. “The Metropolitan Opera confirms that Plácido Domingo has agreed to withdraw from all future performances at the Met, effective immediately,” read the statement. “The Met and Mr. Domingo are in agreement that he needed to step down.”
on credible stories of sexual misconduct. To the point of credibility, the AP reporters worked to corroborate the claims and provided evidence of it in their articles, as is standard journalistic practice. As NPR pointed out, the AP spoke “to nearly
three dozen people who said that they witnessed ‘inappropriate sexually tinged behavior’ by Domingo.” Additionally, the majority of the twenty accusers were granted anonymity, due to fears of career reprisal, but two women have indeed spoken on the record. Lastly, a makeup artist didn’t deny the woman’s allegation of having her bare breast violently, and painfully, groped; the makeup artist denied having a memory of the incident and declined to comment.
For decades, Domingo’s career has been protected over the careers of the women who allegedly were pressured into sex out of fear for their jobs or suffered reprisals for refusing him. As that first AP article reported, “Seven of Domingo’s nine accusers told the AP they feel their careers were adversely impacted after rejecting his advances.” One accuser put it like so: “He used his power, he stalked women, he put women in positions of vulnerability.
The calculus behind whether a man suffers real #MeToo career consequences isn’t always based on a weighing of facts or a preponderance of evidence, but rather whether the folks with decision-making power feel they can afford to lose him. Or, perhaps in this case, keep him.
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