Saying Goodbye to Luciano Pavarotti.

Unfortunately, new attacks against my computer may preclude me from continuing to write at this site. I am fighting to continue doing so, running scans -- my security system has been breached -- and hoping to hold on to my access to these sites. I cannot access my books on-line and do not know whether they are still available, but I hope they are. I am blocked from Lulu, probably by New Jersey hackers.

I was fortunate to experience Luciano Pavarotti's magnificent voice, in person and without amplification or distortion, at the height of his vocal powers. I heard Pavarotti sing what he described as the most gripping, emotionally difficult, and painful role in his repertoire, "Riccardo" in Un Ballo in Maschera. This Verdi masterpiece was recorded by Pavarotti several times in his career. Pavarotti's interpretation ripens and deepens with the passage of the years. Both the Opera and Mr. Pavarotti's performance are not to be missed.

There is a famous recording of this work with Joan Sutherland and Sherill Milnes, the best baritone I ever heard (and I've heard a lot), who is an American singer. Mr. Milnes was a member of that generation of American singers who took the initiative away from Europe, in terms of the quality of singers. All of the following were roughly contemporary singers, enjoying overlapping careers: Marilyn Horne, Richard Tucker (who would be the best tenor in the world today, by far), Robert Merill (great baritone), Leontyne Price (rivaled only by Tebaldi, Scotto, Caballe, Freni, Fleming and surpassed by none), Beverly Sills, the best coloratura soprano I ever heard, also many others.

Pavarotti's voice was -- no, it will always be -- brilliant, sparkling in the upper registers, make your knees wobble beautiful, expressive and rich with all the colors in the rainbow. He was not a great actor on stage, partly because of his size, but his voice was a great actor. Hence, Pavarotti recorded really well. Not all good singers do. The subtleties in Pavarotti's interpretations are often missed by people only listening for the high notes. The video and recording in the late sixties of Karajan's Verdi "Requiem" (with Price) is one of the glories of recorded music, rivalled subsequently only by Jessie Norman and Jose Carreras under Muti's baton. Both of those tenors are unforgettable in the "Ingemesco ..."

In Ballo, Pavarotti's "Riccardo" is torn by complex emotions, loyalties to a friend, passionate love for a woman (the role of "Amelia" is best sung by Leontyne Price -- and I've heard everybody sing it), political issues concerning the responsibilities of power and need for liberty are woven into the score and libreto. The recording with Ms. Sutherland is very good. If you can find a recording of Pavarotti with Price, even if they're singing the yellow pages, get it.

Both Domingo and Pavarotti mentioned Leontyne Price as one of the very best sopranos they had the good fortune to sing with during their careers -- and they weren't kidding. Ms. Price always looked beautiful on stage, tall with a comanding presence. In Aida, she was never a slave, despite her status in Egypt, because she knew herself the daughter of a king -- and so did you in the audience.

Pavarotti's voice will be heard forever, along with Caruso, Callas, Di Stefano, Corelli, Tebaldi, Del Monaco, Milnes, Domingo, Caballe, Carreras, Kraus, Nilson, Melchior, Price, Scotto, Freni, Fleming and (I think) Salvatore Licitra and so many others. A good way to say goodbye to Luciano -- sending him our love -- is to play his recordings today. I will do that, ignoring those who find an interest in Opera "weird."

My recomendations for your listening pleasure are: From "London Records," the Decca Record Company compilation "Luciano Pavarotti -- Great Tenor Arias," from 1969-1982, and the "Duet: Ballo in Maschera," Pavarotti/Price, closing The Metropolitan Opera Centenial Gala, October 22, 1983, with English subtitles, available from Bel Canto, Paramount Home Video, CD/DVD from Metropolitan Opera. Finally, an encore of a favorite Pavarotti aria from that collection, whose final word should be on Luciano's grave stone:

"Nessum Dorma ... Vincero!"