Luciano pavarotti cause of death
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Luciano Pavarotti
Italian operatic tenor (1935–2007)
"Pavarotti" redirects here. For the documentary, see Pavarotti (film).
Luciano Pavarotti OMRI | |
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Pavarotti upon receiving the Kennedy Center Honors, 2001 | |
| Born | (1935-10-12)12 October 1935 Modena, Italy |
| Died | 6 September 2007(2007-09-06) (aged 71) Modena, Italy |
| Occupation | Opera singer (tenor) |
| Years active | 1955–2006 |
| Spouses |
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| Children | 4 |
Luciano PavarottiOMRI (, , Italian:[luˈtʃaːnopavaˈrɔtti]; 12 October 1935 – 6 September 2007) was an Italian operatic tenor who during the late part of his career crossed over into popular music, eventually becoming one of the most acclaimed tenors of all time. He made numerous recordings of complete operas and individual arias, gaining worldwide fame for his tone, and gaining the nickname "King of the High Cs".
As one of the Three Tenors, who perform
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Canzone napoletana
Genre of music related to the musical tradition of Naples
Canzone napoletana (Italian:[kanˈtsoːnenapoleˈtaːna]; Neapolitan: canzona napulitana[kanˈdzoːnənapuliˈtɑːnə]), sometimes referred to as Neapolitan song, is a generic term for a traditional form of music sung in the Neapolitan language, ordinarily for the male voice singing solo, although well represented by female soloists as well, and expressed in familiar genres such as the love song and serenade. Many of the songs are about the nostalgic longing for Naples as it once was.[1] The genre consists of a large body of composed popular music—such songs as "'O sole mio"; "Torna a Surriento"; "Funiculì, Funiculà"; "Santa Lucia" and others.
The Neapolitan song became a formal institution in the 1830s due to an annual song-writing competition for the Festival of Piedigrotta, dedicated to the Madonna of Piedigrotta, a well-known church in the Mergellina area of Naples. The winner of the first festival was a song entitled "Te voglio bene assaje"; it is traditionally attribute
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In Search of Pavarotti (Opera News)
Getting an interview with the most famous tenor on the thirtieth anniversary of his Met debut was a good idea. Making it happen turned out to be a story in itself.
November 2, 1998
Volume: 63, Issue: 5
ANYONE SETTING OUT to write about the world’s best-known opera singer is confronted with two practical questions: how do you get an interview with Luciano Pavarotti, and what can you possibly say about him that hasn’t been said already?
The answer to the first question seemed relatively straightforward when my OPERA NEWS editor called me early in the summer. The “Pavarotti people”—that is, the agency of Herbert Breslin, who has guided Pavarotti’s career for thirty years—had set up an interview in Italy on August 15, and would I like to do it during my next European trip? Of course I would.
Make that August 20, OPERA NEWS said a few weeks later. The interview date had been moved. I rebooked my flight home accordingly.
The second question was more daunting. Pavarotti has been one of the world’s leading opera singers since before
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