Word: cantos
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Dates: during 1970-1979
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With his extra measure of Ponselle's "certain something," Pavarotti occupies a unique position among the tenors of today. Placido Domingo, 38, his nearest rival, has a superbly smooth, rich voice and a wider range of roles?he sings the weighty Othello as well as bel canto parts?but he sometimes loses impact because of a veiled timbre and somewhat muted personality. Jon Vickers, 52, can match Pavarotti's intensity and puts more serious thought behind his performing, but his is an entirely different kind of voice: rugged, heroic, best suited to dramatic works such as Otello, Les Troyens...
Vocally, Pavarotti in recent years has skillfully negotiated the most treacherous shoals that face a tenor. Early in his career he was a classic tenore lirico, ideally suited to lighter lyric roles like Rodolfo, and florid bel canto roles like Nemorino in L'Elisir d'Amore. With age, however, a tenor's voice takes on a heavier tone and darker coloration. By the time he is in his 40s, a tenore lirico is usually ready for roles in the intermediate spin to (pushed) range, like Cavaradossi in Tosca, and maybe even in the forceful, baritonal tenore drammatico category, like...
Luciano Pavarotti can often be found at Bel Canto, ballooning himself on the most interesting pizza in Cambridge-some say the best. Bel Canto offers weird toppings like broccoli and walnuts, thick white or whole- wheat crusts, and generous-through costly-servings...
...Canto's--Mass Ave near City Hall, Pizza for the hip. Not hip as in pelvis, kids; hip as in Definitely worth a try, but be forwarned--the is the pizza of the '70s, and it's really good. Where else can you get a deep-dish whole wheat-crust pizza topped with (mmm) walnuts and broccoli? Nowhere! Seriously, though, Bel Canto's offers an interesting, tasty and rather expensive variation on the all-American dish. Definitely worth a try but be forewarned--the place is tiny, the service is slow, and at peak times you have to wait...
...prime, Callas sang dramatic, lyric and coloratura roles with equal ease. Almost singlehanded she created the revival of bel canto. It was because of her voice and presence that Norma and I Puritani are now popular after decades of neglect. For this one accomplishment, hordes of opera lovers, as well as Sopranos Joan Sutherland, Montserrat Caballe and Sills herself, owe Callas a lasting debt. And she acted these roles with a devouring intensity that might do justice to Who's Afraid of Virginia Woolf...