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Luciano Pavarotti was bigger than life – the oversized belly, huge handkerchief, grandiose lifestyle and ever-present grin that shone like a beacon. He backed it up with a voice of intense focus and immense carrying power, which rang to the rafters on stages throughout the world. He broke out of classical music’s insular world in an era when television became dominant, singing alongside Stevie Wonder and Sting as naturally as he did opposite Joan Sutherland and Mirella Freni. He was beloved by opera patrons in gowns and tailcoats, and by the masses who came in T-shirts and jeans to hear him sing in Central and Hyde parks. “He had the most perfect technique in the history of recorded music,” soprano Renee Fleming said after Pavarotti died Thursday at age 71. “He also captured the hearts of the larger public in a way which rivaled only Enrico Caruso in the 20th century.” A lyric tenor, Pavarotti owned some of opera’s classic roles: Rodolfo in Puccini’s “La Boheme.” Riccardo in Verdi’s “Un Ballo in Maschera” and Nemorino in Donizetti’s “L’Elisir d’Amore.” He first gained great fame as Tonio in Donizetti’s “La Fille du Regiment,” tossing off the famous nine high Cs of “Ah, mes amis” with startling ease. And later in his career he could be shockingly unprepared: There was a Verdi Requiem at Carnegie Hall in 1996 when he appeared to be forgetting the words, stadium concerts where he was accused of lip-syncing. When he returned to the Met in 1995 for “La Fille,” the aria was transposed down and he struggled with his high Bs. Some of his repertoire choices, especially at Three Tenors concerts, were unfortunate. There was “Moon River” and “My Way” – with Frank Sinatra in the audience – at Dodger Stadium in 1994 and a laughable rendition of “Yesterday” at Yokohama, Japan, in 2002.160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set! His inclusion in a cast meant an instant sellout from San Francisco to Sydney, Mexico to Milan. Listening to recordings or watching DVDs, it’s easy to understand why. His voice is immediately recognizable, a warm Italian diction like no other, with beauty of tone, color and heft. “His voice was unique,” said former Metropolitan Opera general manager Joe Volpe, who planned to attend Saturday’s funeral in Modena. “If you put a CD on today and it’s Luciano singing, you know it.” When the orchestra swelled and Pavarotti sang “O soave fanciulla” in the first act of “Boheme,” hearts melted and tears welled in audience’s eyes. When he sang a triumphal “Vincero!” and held the final note to end “Nessun dorma” in Puccini’s “Turandot,” shivers went up and down spines. In the annals of music, he joined Caruso, Beniamino Gigli, Giuseppe Di Stefano, Mario Del Monaco and Franco Corelli as Italian tenors of the highest rank. He pushed with mixed success into spinto and dramatic parts such as Canio in Leoncavallo’s “Pagliacci,” Radames in Verdi’s “Aida” and the title role in Verdi’s “Otello.” It’s hard to forget the array of sprays and potions he kept using to sing through a cold in a 1991 concert performance of “Otello” at Carnegie Hall with Sir Georg Solti conducting the Chicago Symphony Orchestra.