So, Mr Pavarotti, how do you want to be remembered?

Just released: the trailer to his new biopic.

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  • A bit nauseating. And naturally Domingo is in it. Domingo this, Domingo that, Domingo there, Domingo here, Domingo all the time, Domingo everywhere, Domingo all the same.

    • In two minutes 23 seconds of video, Domingo appears briefly three times – once making a comment for less than 2 seconds and the other two related to The Three Tenors totalling around 3 seconds. Caravaggio yet again sees what is not there because it fills his personal and not infrequent vitriolic agenda.

  • And of course we had to see Mister Brown Bag Full of Cash on the podium in nearly ever shot. The other revolting thing is the blatant attempt to squeeze out ever drop of sympathy for the UN Globalist agenda.

      • No doubt partly because it is assumed Mehta made huge sums from The Three Tenors Concerts. Mehta actually conducted only two of the concerts – at the World Cups in 1990 and 1994 plus one small benefit concert in Monte Carlo. He then decided he did not want to do more. James Levine made exponentially more in fees by conducting 16 of the concerts, including many on the hugely lucrative World Tour.

    • What a shower of cynics. I for one am looking forward to a good comprehensive doco on someone who has claim to being one of the great voices of the 20th century. Should Domingo be commenting? Their careers were near-contemporaneous, they worked together in a way high-end tenors rarely had before, and he was — whatever his multitude of detractors around here seem to feel — one of the other great singers of his era and a major force on music.

      As for Pavarotti’s interest in world problems: is everyone who takes such an interest automatically to be derided and sneered at? His concerts for War Child and other major crises raised heaps of funds and raised interest, as well as introducing people from different fields of music to each other. (He probably brought quite a few toward classical music; for me it was the opposite — for the first time I began to take an interest in some of the popular music of my generation. I am not undiscriminating — but it was ear-opening, and I came to love Zucchero and The Cranberries).

      Why not just wait for the film? One thing it might do is spike a new lot to take a listen to classical music. There are considerably less appealing introductions to it than hearing Pavarotti sing.

    • Yes, that horrible United Nations! MAGA! Though “Mister Brown Bag Full of Cash”, as insultingly vile as it is, can’t be said to be following in the Donald’s footsteps, as it is a bit too long too get his shaky mouth around.

  • Pavarotti showed so much promise. He was brilliant in his early career. Then he got richer and fatter and stopped practicing, figuring all he needed to sell tickets was his name on the posters. His singing went to hell – phrasing, articulation, intonation, breath control – everything. I see him as deserving of pity.
    Reminds me of a famous now-deceased American violinist….

    • He was a brilliant tenor and I mostly agree with Spenser about his decline. Around about the time Tibor Rudas became his concert promoter and started putting him into 12,000 seat + arenas, I suspect life became far too easy for him. One arena concert involving no more than 3 days travelling and performing brought him more than he’d earn in 6 weeks rehearsing and performing in an opera house. It must have been too easy to become lazy when you sing into a microphone before generally undiscriminating audiences. As the arena concerts increased up to around 20 a year and The Three Tenors phenomenon arrived, he became a money making machine. The artistry was still there, but too often it seemed there was no real desire to bring it to the fore.

      It then seemed he chose operas and concerts that he should have avoided. The Otellos for Solti’s farewell in Chicago and Carnegie Hall were an embarrassment, and he should never have tackled Don Carlo at the opening of the Scala season in 1992 when he cracked a note and got booed.

      That said, he probably did more for opera with his global popularity than any other artist. And the movie will no doubt give opera another boost – if only through the sale of CDs, DVDs and streaming.

  • Brought tears to my eyes and the sense of loss. I remember him so well in Idomeneo when I was studying myself, and he has been a household name for those who ‘don’t do opera!’ unlike some crossover artists who shall remain nameless who are so-called opera singers but never been in an opera! Look forward to seeing this documentary.

  • So long ago, my staticky clock radio, barely audible also under the vacuum, I stopped cold with ‘Who the hell’s that?’ If pure perfection eventually took second place to vibrant, unbridled love for life & music and the pure joy of sharing that – what else is art for. Still glorious to hear. The trailer brought tears to my eyes too, I miss him..

  • Based on that trailer it’s not a biopic, it’s a documentary film. A biopic is a fictionalized version of a person where the real-life subject is portrayed by an actor.

  • Was anyone better suited to play the Duke of Mantua than the big man?

    The recording with Bonynge, Milnes, Sutherland and Talvela is still my all time favorite opera recording, even thought it wasn’t Decca’s best effort sound-wise.

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