Those of you who have been paying close attention to my blog for the past x years will know that I am working slowly and steadily through my entire record collection and blogging it.
It may come as a surprise to some that I have two records by Pavarotti in my collection. Admittedly, one was taped off my mother's copy years ago. I can't remember why I bought the other. Perhaps it was a Britannia Record of the month which I forgot to cancel way back in the days when the Pav had a voice, sort of.
But actually, the tracks on it were recorded in 1973, and 1979-1980, so it's a pretty good product. It's called Ti Amo and is pure Puccini, no dubious crossover crap. The excerpts from La Bohème, by no means my favourite opera, even by Puccini, are simply exquisite, taken from that benchmark recording in 1973 with Herbie and the Berliners; having these four tracks saves me the trouble of having to buy the complete recording (ducks...)
It also includes Nessun dorma, which is the only operatic aria I truly hate with a vengeance and a passion, and every bloody tenor has to include it on his compilation CD. Basta! I say. But it would be bloody strange to have a Pav-Puccini album without that dreadful turgid song from Turandot.
I could live quite happily without his excerpts from Tosca. I have a very clear idea of how I want my Cavaradossi to sound. And it ain't Luciano. Supposedly it's his signature role, but I think that I would rather hear him in Bel Canto than in this
It is extremely pleasant to listen to the Essential Pavarotti. His voice was - and as captured on record is - extraordinary. I would actually go so far as to say that in terms of pure vocal technique and sound it is the most 'perfect' voice in my not insubstantial Tenor collection. And I always get pleasure from listening to Pavarotti. I don't get anything like as much pleasure from watching him act, but this post is purely about the audio experience. What an amazingly technically brilliant and sweet voice.This compilation features most of the arias one would expect on an aria compilation by a leading Italian/lyric tenor - although, Una furtiva lagrima apart, there is an absence of Donizetti and perhaps too many tending to the spinto-dramatic range. I cannot contemplate anyone who appreciates gorgeous singing not enjoying this. And yet, there is something that leads me wanting. I suppose it is an absence of differentiation between the dramatic requirements of the roles, both Canio (Pagliacci) and Manrico (Trovatore) sound surprisingly cheerful, considering; Neromino surprisingly morose.
And how amazing album to work one's way through an entire album of some of the best arias ever written, executing them perfectly, with a beautiful voice, ringing High Cs, squillo, the lot.
Lacking nothing except emotion and any indication of actually being involved in the songs.
I am so ambivalent to Pavarotti. Technically perfect voice. And so boring. Just singing the top arias of the top repertoire, all Italian. Singing them perfectly. But it might as well be the Argos catalogue.
If any Pavarotti fan comes here and decides to flame me, I hold my hands up. Perfect voice. But when I hear a tenor singing tenor arias, I don't want to sit there saying in my head 'Perfect execution'. I want my reaction to be visceral, physical and, not to put too fine a point on it, sexual. I will never argue against the clinical perfection of Pavarotti's voice. I have a favourable intellectual reaction. It simply doesn't get my juices flowing. Sorry.
Anybody who has been watching the news will know that he hasn't been well. He was treated for pancreatic cancer last summer, is down to 11 stone, would you believe, and is currently in hospital having been treated for pneumonia or some such. Naturally, I wish him the best but I can't say the prospect of a new album - presumably valedictory - exactly thrills me.
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