Word: pavarottie
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Those 14 weeks were a watershed that gave Pavarotti invaluable experience and exposure. In Sutherland he found a vital influence as well as a partnership that remains one of the most potent in opera. Says he: "I used to listen to her and think, how is it possible that this woman's notes never seem to end? How does she produce this endless chain of sound? I gradually realized it was her breathing. " Says Bonynge: "He was always getting hold of Joan around the middle and feeling her muscles. He wanted to figure out how her diaphragm worked. Especially...
After Australia, Pavarotti was ready for a string of major debuts: La Scala in 1965, San Francisco in 1967, the Metropolitan in 1968. Although his Met engagement, like most of the others, was in his lucky opera, La Bohème, he caught Hong Kong flu and had to withdraw halfway through the second performance. It took him three years to overcome that anticlimactic beginning at the house. But when he did, in a production of The Daughter of the Regiment with Sutherland, he set New York on its critical ear with a spectacular series of nine high...
...monumental ego is built into a performing temperament like Pavarotti's?it has to be. Yet his associates agree that he has succumbed to no more than a mild case of "tenoritis." Last month, while recording Rossini's William Tell in London, he flared up over the balance between his voice and the orchestra. "Why do 1 sound as if I'm singing in another room?" he shouted after hearing a playback. When the producer defended the balance, Pavarotti slammed his score shut and stomped out of the studio. But the next day he was back to try again. "Luciano...
...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...
...Pavarotti has been proceeding judiciously, with a Masked Ball here, a Turandot there and, of course, the San Francisco La Gioconda. There are some roles he will sing in the relaxed conditions of the recording studio but not onstage, as in William Tell, which he describes as a "scassavoce"?a voice buster. If he does not show to advantage in a new role he may shelve it for a while, as he seems to be doing with Manrico in Il Trovatore...