Some deep emotional laceration was perhaps hidden behind the surface of the bright smile of 'Big Luciano', one of the most magnetic smiles we've been given by a pop icon: let the legendary title gain an anti-class qualification earned on the field of a fame without borders of generations, culture and nationality. Other than the melancholy ones: Pavarotti's voice is all about. It’s touching, because is 'full of silver'.
Ten years ago, on September 6, 2007, Pavarotti died for pancreatic cancer, and now the manifestations in her lyrical or 'light' memory are multiplied, that is to say, on the register of friends who marked the second phase of her career , marked by cosmopolitan clamor.
Moreover, more than 50,000 visitors to the little museum house outside Modena, one of the educational and touristic proposals linked to the activities of the homonymous foundation, shows that the figure of 'Big Luciano' has a fascination that comes from the specific enclosure of the opera and chant he was unchallenged for decades. And it was a part of the planetary affection of the public, an incredible array of awards: gold and platinum records (when the numbers were at least five zeros, not those of now) the Kennedy Award assigned to US personalities, more than six hundred keys of cities. Not to mention the more or less official Independent Clubs, powered by a repertoire of official and private music images and recordings, starting from that - repeatedly remastered - about its homonymous operetta on April 29, 1961 in Reggio Emilia. In the Bohéme, The title of Puccini, with Donizetti “Elisir d'amore”, has encircled for history the art of the tenor of Modena.
Luciano Pavarotti was, indeed, the incarnation of the tenor, not only for the blazing 'I'll win!' “Vincerò”, Even the obsessive football-TV years ago. Son of a chorus soon loses the sober family expectations that would have wanted a gym teacher or elementary teacher.
After the first roles, at the turn of thirty years, Pavarotti was already at Scala Theather in Milan, where he sang as Rodolfo - characters as few to his consanguineous, although with “Cavaradossi of Tosca” shared the practice of painting he cultivated with great passion - with Herbert von Karajan will then want it in the green Requiem. Since then the career of the young Italian tenor took flight, and the figure, as well as the voice, became popular: Pavarotti triumphantly entered the star system. By staying content: without being an actor or subject to image-taking. Beyond Maria Callas, the other diva of the work taken by the jet set.
From Scala, where he was protagonist of memorable solo nights, there were two other theaters of 'Pavarotti'. Covent Garden of London offered him the first major opportunity outside of Italy in 1963 and the Metropolitan of New York, where he continued in a tradition of affection for the Italian singers started in Caruso and Gigli, continuing with Del Monaco and Bergonzi, has been loved in a special way. At the New York theater, she dedicated the latest stage performances.
At the end of the seventies, Pavarotti held the first squares in the record charts: selling numbers unknown to a singer, and in light charts. The first of the numerous Grammy was delivered to Hollywood in 1978: double consecration for the latest myth of modern lyricism. Record sales and recitals multiplied, the cachet went crazy, the covers of the most important magazine contended for the scene photographs. In 1986 he brought his Rodolfo, and for the first time the Italian opera, in Beijing.
'Luciano' always called them all. Because it was so, one of us, and why it has always imposed on anyone in the stage or in music. Even the stage guards who 'steal' before each reciting a curved nail to use as a charm amulet. The list of 'first times' by Pavarotti is daunting. In addition to theater, she sang, with orchestra, with piano accompaniment, alone with the usual gigantic handkerchief in her hands to sweep sweat and hide the emotion. And when in August 1991, in the humorous Apocalypse of Hyde Park in London, where for a few hours he had stopped pouring, more than 200,000 spectators applauded a recital of arias and romances, the newspapers could only celebrate the skill of Big Luciano '. Just as New York fans did in Central Park, consolidating the legend of the unique character.
Before making the verdi and puccini tenor, Pavarotti was the acute, sometimes acute, voice of Bellini and Donizetti: interpreted parsimonious (noticed) throughout his stage life. Over forty years with decisive roles (half a dozen) sung hundreds of times, studied in the early years, rewritten each time. Extraordinary career, its: from an artistic point of view and popularity. Grammy tiled, millions of records sold and humanitarian initiatives, duets with pop and rock stars.
In the beginning, it was all the result of the work of American agents: I, Luciano Pavarotti (1981, the first biography that followed the year of death, the definitive one by Alberto Mattioli: Big Luciano, Pavarotti the true story). (1982), special television, tennis matches with John McEnroe, horseback riding with poncho or tricolor flag for the Columbus Day, signed autographs. With a nostalgic sympathy and narcissistic taste, Luciano added news about diets and hobbies. Without stealing from the hunt for fans, calibrating improvised chats during recitals, alternating words and singing times with a legacy of legitimate art from a long and splendid career, generously protecting youngsters from the Vocal Contest who (naturally) brought his name and funded without calculations: begging next to him or, as in 2004 in Bohème in Fano under his guidance as director.
The recent phase was linked to the Pavarotti & Friends concerts and the Modena International Competition (where he succeeded in transforming the passion for horses): beneficial initiatives that have already made funds to build school centers for children in difficult and poor nations (ex-Yugoslavia, Liberia, Guatemala, Cambodia, Tibet); to the adventure of the Three Tenors (started for Italy 90), to the stellar cachets. Even artistic stunts, announced and canceled performances, or coupons have been exploited in a promotional key (the bad note became laughter out of the score, the unhappy concert paid off, including costs if needed) by providing useful material to the media hagiography monument. Beyond controversy and 'critical' doubts, the effect of his performances has always been triumphant. They filled the enthusiasts with joy, money and popularity to reflect the sponsors.
Difficult to circumscribe the legend of Pavarotti. Even when he saw the state television that in 2007 sent the solemn funeral ritual live and that today sends big cameras and presenters to Verona. Ten years after death, Luciano Pavarotti can still point to a way of making the work part of our world that disgusts the purists. But how, as they were able to understand the sales numbers of the time, just like Big Luciano's example - "Il Volo" tenor sing group, like it or not, are its virtual children - has made a natural dialogue, albeit on non-ordinary nights, the work and the jazz, pop and melodrama, lyrical theater and the stars of cinema and rock. Without rankings but competing in excellence and sympathy. Because Pavarotti was an extraordinary tenor, and most of all, without a microphone, but was born media and global when the network was still organizing, and instead of knocking post socials there were the rotogravures to browse.
Thanks Pavarotti for your great voice and interpretation.
Sincerely,
@Paolonews