Word: pavarotti
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...wrong to criticize Luciano Pavarotti [Nov. 30] for his commercialism and hype. He has taken opera out of the tiny domain of the musical elite and given it to the world. Thanks to Pavarotti, some south Georgia teen-agers now concede that opera is "not too bad." What more noble achievement is there...
...Egyptian captain for the first time in his career was no ordinary performer: it was the portly mink-coat model, frequent guest on the Tonight show, American Express-card pitchman, would-be movie star and, these days, part-time primissimo tenore. Yes, Giorgio, there is still a Luciano Pavarotti, superstar...
...what price? What has become of the sweet voice that made its owner the most affecting Rodolfo of his generation in Puccini's La Bohemel What has befallen the technique that allowed Pavarotti to toss off the famous nine high Cs in an aria from Donizetti's La Fille du Regiment with the effortless abandon that marks only the greatest tenors? What has happened to the suave phrasing and sure sense of style, which made his recording of Nessun dorma from Turandot an example to musicians everywhere? Have Pavarotti's duties as operatic emissary to the world...
...Francisco Opera's glittering new production of Aida, a capacity audience-plus 3,000 more Pavarotti fans, watching a closed-circuit broadcast in a nearby auditorium, as well as live-television viewers in Germany, Austria and Spain-saw and heard him struggle unsuccessfully against the vocally ungrateful requirements of Radames. Not content with being the world's foremost lyric tenor, Pavarotti in recent years has been moving into the heavier spin to repertory, forsaking the Lord Arthur Talbots and Tonios of Bellini and Donizetti for roles that call for weightier, more declamatory singing-Enzo in Ponchielli...
Last week the only "money" note for the tenor in Aida-the high B-flat at the end of Celeste Aida-was rough and ragged, belted out with a desperate fortissimo instead of the more difficult pianissimo that Verdi called for in the score. Elsewhere, Pavarotti's eyes clung to the safety of the prompter's box and the conductor's baton, leaving most of the acting to Soprano Margaret Price (battling a bronchial infection but singing well nonetheless) and Stefania Toczyska, a sultry Polish mezzo and a star of the future, whose Amneris blazed with passionate...