From the first moment you see and hear him it is impossible to turn away. For me the why and how of it defies description. No one since has been able to fill his shoes. Pavarotti was a singer that got husbands to take their wives to the opera. I cannot think of a singer today that has Pavarotti's X Factor. Pavarotti is also the reason that many chose to pursue a career in music. Like Bocelli, Pavarotti is easy to love. The opera academics so often forget this basic fact. Many thousands go to conservatories, work very hard and attempt careers. Very few are memorable for any length of time.
no one else has that immediately identifiable thrilling sound, the kind that makes the hairs on the back of your neck stand up....all of the others sound like they are doing it 'by numbers'
@@xxsaruman82xx87 many times i have many of their cd's....they both have their strengths just not the all round brilliance, artistry, and ease of delivery that Pavarotti had.
Man sieht bei Pavarotti aber auch deutlich, die Anstrengung für den hohen Ton. Ohne Muskelarbeit geht es eben nicht. Man muss nur wissen welche Muskeln.
I love Pavarotti and no matter how good his Nessun Dorma is, for me it will never match Franco Corelli's version, who in my opinion, is the greatest tenor ever.
Actually, not true. He performed two operas live in New Orleans and his voice was more than large enough. Albanese described it as a big voice. Joan Sutherland and others noted the size of Mario's voice at a concert in Royal Albert Hall. He was the real deal. There are others who testify to that such as Marilyn Horne, who was in the chorus the night Mario was "discovered" Hollywood-wise at the Hollywood Bowl. While performing in opera houses is very notable, that is not the ultimate or only barometer of vocal greatness. Lanza was headed in that direction when Hollywood intervened. Pav sucked in movies. Lanza came off well in them under any measure. Pav's voice was small compared to Mario's.
Mike Pinc This is the first time I hear Lanza’s voice was suitable for an opera house. I love him. And would certanly make a difference in today’s shitty opera World.
@@xxsaruman82xx87 No, I'm not at all. I was simply generalizing. Indeed, both had large voices, perhaps Del Monaco the largest of all. But there are more barometers than simply the size of the voice.
It could be argued that he did NOT help opera. He (and his vast publicity machine and recordings and then the endless concerts with rock stars and the Other Two Tenors) narrowed tastes, in voices and music. He was a wonderful singer with a thrilling lyric voice and a solid technique that lasted. But I never want to hear Nessun dorma again.
Well, I never listened to any opera until I came across Pavarotti's Greatest Hits on vinyl back in 1980, via the radio. I'm now opera's biggest fan. Oh that my bank account could support all of the subscription series.
Mike Pinc not sure what axe you’re grinding here. He was a magnificent lyric tenor with a flawless technique. How you can listen to him tossing off the 9 high c’s in La Fille du Regiment and say he was “overrated”? His La Bohème? He does not have to be your favorite but to say he is overrated tells me you know little about opera or singing.
