Written by Natalia Di Bartolo —
October 12, 2015.
Think today Luciano Pavarotti (1935-2007) would have turned 80 years old and that is no longer among us still seems strange to those who wont imagine tirelessly around the world to bring their art to the glory ofItaly music.
Clear voice but not lightweight, full, full-bodied, perfectly mastered, combined with a "spirit" that allowed him not only the ability to convey the truth of the tragedy that happened on the scene, transcending its mass, but which also was irony, as demonstrated, for example, hopping in the role of Nemorino "L'Elisir d'Amore" by Donizetti.
A driver of crowds even singing songs, in his being "greedy" in music, the dowry is not all musicians have.
The largest item on the 20th century? Maybe ... The writer believes it can pull over (never, at these levels, put it in comparison!), although the two entries are really the polar opposite characteristics and virtues, only to immeasurable Enrico Caruso.
The vocal power, the dark timbre, the extraordinary modern Caruso are the clarity with the fullness and volume support, perfect modulation, the absolute lack of smearing of Pavarotti. A "heads up" that will always be impossible to settle. And then, why try to declare a "winner"? Both were unique.
Comparison with the Lord Domingo and with Carrerasthen, major players on the scene in his own glorious era? They exploded themselves, singing over and over again. Beautiful and full-bodied Domingothe almost palpable, harmonious and unique temperament; beautiful and velvety Carreras... but comparisons don't hold up: beautiful and elegant the first two, "huge" and apparently "graceless" Pavarotti ... but if you tried to close my eyes ... And all this without wanting to belittle anything the size of the other two.
The writer will never forget an edition of "Un ballo in maschera" by Giuseppe Verdi, 90 's,Opéra Bastille in Paris, where he had the chance and the privilege of hearing the tenor from Modena in an evening of grace that probably remained engraved in the memory of many. No filters, no recording studio tricks, the listener heard the sound of a crystal glass beaten with a nail, soft and bright, with harmonics that were touching and ultrasounds, as materialized almost impalpable confetti, a result, stage presence, which verged on perfection.
Yet they pursued all his life, poor Pavarottiin search of his very human "splints" ... and he got caught, sometimes; but his first cues were made more news page of news stories, filled the pages of newspapers and magazines, where every time someone gave it to "finished". But, like the Phoenix, rising from the ashes and came with its own light shine.
And then, the artists receive from the sky a mysterious gift: the gift of immortality of his art, which is reflected in them and transforms them. Impressive but almost superfluous to imagine Pavarotti, as it has sought to emphasize then at his funeral, among the ranks of Cherubim and Seraphim, to sing the praises of God. And if he does listen really doing, for eight years, would not do anything again: to do so already in life, we get good at their "craft".
Is the mysterious power of art, that, when it has A capital "A" is always prayer. Sacred or profane song, Opera or song, then, Pavarotti did nothing but pray for life, hoping, perhaps without knowing it, heaven and by sending his listeners the transcendence of music where he was the master. Now we still have an echo in his recordings.
In heaven there was already, therefore, our "big Luciano"in spite of tortellini and Modenese dishes he was greedy, despite his "mishaps" land, in spite of its size, which the Lord had saved material. And then there is pleasing to imagine that our great tenor continue eternally in his main activity: to raise praises to God. Pensiamolo now, however, "light" forever ... as I had never been.
© Natalia Dantas
PHOTO AA.VV.