Luciano Pavarotti has died September 6 2007
(from http://www.gramophone.co.uk)
Luciano Pavarotti, the legendary tenor and one of the most famous performers of
any genre,died at his home in Modena, Italy this morning. He had been suffering
from cancer.
史上最有名的音樂表演者之一，傳奇性的男高音帕華洛帝，今天早晨在他位於義大利-蒙德
納的家中過世。 他最後的人生裡為癌症所苦。
In a statement, his manager Terri Robson said:"The Maestro fought a long, tough
battle against the pancreatic cancer which eventually took his life. In fitting
with the approach that characterised his life and work, he remained positive
until finally succumbing to the last stages of his illness."
他的經紀人 Terri Robson在其聲明中說：「怕滑落地大師跟胰臟癌奮鬥了冗長而艱難的一
役，最終還是蒙主寵召。 但正如他在其一生涯裡和其藝術中所呈現的，直到最後屈服於病
魔之前，他仍然保持樂觀。」
It was the 1960s that saw international audiences first acquainted with the
charismatic tenor’s powerful and vibrant voice, with debuts at Covent Garden,
the New York Met and Milan’s La Scala. The following decades saw him make some
of the most iconic opera recordings in the bel canto repertoire, including the
La boheme and Madama Butterfly with Mirelli Freni, conducted by Karajan, and
Turandot with Joan Sutherland and Montserrat Caballe.
他是在1960年代開始崛起，於(倫敦的)柯芬園、紐約大都會歌劇院，以及在米蘭和史卡拉
歌劇院裡，讓世人見(聞)識到這位無與倫比的男高音富有力量的明亮歌聲。接下來的幾十
年中，他為一些美聲歌劇錄下了最具代表性的錄音，包括和卡拉揚及女高音芙瑞妮 (算是
他的青梅竹馬，沒記錯的話，他們是同一個奶媽帶大的)合作的「波西米亞人」和「蝴蝶夫
人」，還有跟女高音蘇莎蘭、卡芭葉和祖賓梅塔的「杜蘭朵」。
But it was in the closing years of his voice’s prime that Pavarotti achieved
megastardom – a status that ensured that his death this morning dominated news
channels worldwide. The success of his rendition of "Nessun dorma" from Pucciniꘊ's Turandot, which became the theme tune to the 1990 World Cup, afforded him a
pop star status. This was followed up by the phenomenal success of the Three
Tenors concerts, in which he joined forces with Placido Domingo and Jose
Carreras to sing arias to a stadium-sized audience (Gramophone editor in chief
James Jolly offers his recollection of that evening below). The popularity of
the concerts, their broadcasts and releases on disc and video, combined with
Pavarotti's warm-hearted showmanship, introduced a new audience to the artform.
但也就在他的歌聲逐漸衰退之際，他的體積也越趨龐大 -- 這也是讓他過世的噩耗在全世
界各新聞頻道不斷出現的原因。 他演唱「杜蘭朵」裡面的一曲「公主徹夜未眠」的成功，
使得此曲成為1990年世界盃足球賽的主題曲，也讓他得到有如搖滾巨星般的地位。 之後他
更與多明哥和卡列拉斯一同在塞滿聽眾的體育場中合唱了一場舉世轟動三大男高音演唱會
(『留聲機』的總編輯James Jolly會在下面分享他對於當晚的回憶)。 藉由這場音樂會的
現場轉播、廣播、後續發行的ｃｄ和影像所帶來的風潮，和帕華洛帝溫暖的明星特質，巧
妙的結合在一起，也為此種音樂形式帶來更多聽眾。
Pavarotti’s longevity as a singer and the remarkable consistency of his vocal
production throughout that long career is a tribute to his good sense in
selecting roles. Pavarotti was a lyric tenor and stuck fairly carefully to the
repertoire most suited to his voice – even when taking on the hugely
demanding part of Otello in Verdi’s opera he did it in concert and for just
two performances (in Chicago and New York). In this respect he should be a role
model for lyric tenors who want a long career! He was one of the very few
artists to remain loyal to a single record company, Decca – which assiduously
documented his career (often in the company of his friend and colleague Dame
Joan Sutherland).
帕華洛帝的歌唱生涯得以持續得這麼久，且能在其中一直保持不凡的聲音，要歸功於他在選
角上的謹慎。 帕華洛帝是抒情男高音，而他也非常小心的只選擇適合自己聲音的曲目。
即使他曾唱過威爾第曲目中非常吃重的「奧泰羅」，他也只在芝加哥和紐約個唱過一次而
已。 在這方面，他足可作為想要有長久歌唱生涯的抒情男高音們的典範！ 他也是極少數
始終忠於一家唱片公司的藝術家 - 他和ＤＥＣＣＡ一直密切的合作，也為他的生涯留下
忠實的紀錄 (常和他的朋友兼同事 - 蘇沙蘭一同合作)。
The last couple of years saw the tenor give a number of farewell concerts
throughout the world. His last public performance was a performance of
"Nessun dorma" at the opening ceremony of the Winter Olympics in Turin, Italy,
in February last year. Until a few weeks ago he was still teaching pupils at
his summer villa in Pesaro on Italy’s Adriatic Coast.
他在生命中的最後幾年，到世界各地進行告別巡迴演唱會。 他最後一次公開演出是去年
於義大利 - 杜靈舉辦的冬季奧運，在開幕式中演唱「公主徹夜未眠」。直到幾個禮拜前，
他還在他位於Pesaro的夏季莊園裡教導學生。
=========================================================
James Jolly recalls the first Three Tenors concert, and pays tribute to a
marvelous voice and charismatic singer.
July 7, 1990. It was the night that opera and football came together,two worlds
at first so seemingly different yet provoking comparable passion among their
followers. And it was a shared love of football that brought Carreras, Domingo
and Pavarotti together at the Caracalla Baths in Rome on the eve of the 1990
FIFA World Cup.
1990年7月7號，一個歌劇和足球結合在一起的夜晚，這兩個領域原本看起來豪不相干，
但它們都足以激起各自的支持者帶著同樣的狂熱。 而也是卡列拉斯、多明哥和帕華洛帝
三人對足球的共同熱愛，促成他們在1990的世界盃前夕一起聚在羅馬的Caracalla Baths。
Physically the three men are as different as their voices: ostensibly three
tenors but each demonstrating different shades of this heroic, noble sound.
There was Domingo with his darker, more baritonal tenor voice, there was
Carreras, less dramatic but always with an underlying sadness in the voice, a
plangently touching sound, and then there was Pavarotti with his sweet lyrical
voice, a voice that could soar effortlessly and seemingly without a care in the
world: for many this epitomised the Italian lyric tenor at its best. And
watching the dynamic of the three men on that balmy night was fascinating too
– while Domingo and Carreras seemed to be trying hard ever so subtley to
upstage each other, Pavarotti just opened his mouth and out came the honeyed
magic for which he became famous. He wasn’t there to score points. And of
course he looked every inch (or kilo) the great tenor – his size, his smile,
the aura he gave off, all contributed to the Pavarotti magic. You sensed that
here was a man who been given a magnificent voice by God and he was determined
to enjoy that gift and share it with as many people as he could. With Pavarotti
the arena-event, tossing arias into the crowd with effortless ease, just seemed
part of who he was. And you sensed that he was just as committed in front of
tens of thousands in Hyde Park as he was in front of far less at Covent Garden.
Singing, for him, was clearly a joy and a genuinely cherished gift.
就如同他們的體型，三個人的歌聲以都非常不一樣：在雄渾、高雅的聲音中，他們各自
表現出不同的特色。 多明哥具有較暗的音色、也更具有男中音特質的聲音；卡列拉斯的
歌聲比較沒那麼有戲劇張力，但總是帶著悲傷、淒切而動人的聲音；而帕華洛帝擁有甜美
抒情的歌喉，且可以毫不費力的就唱到高音：對很多人來說，這是帕華洛帝極致的成就。
另外，在那個迷人的夜晚音樂會中觀察他們之間的互動，也同樣有趣 -- 正當眼看多明哥
和卡列拉斯似乎再暗自較勁的同時，帕華落帝只要輕輕張口唱就像帶來蜜糖般的魔法，這
也是讓他成名的魅力之一。 他並不是去那裡賺取分數的。 另外，他本身看起來就像偉大
的男高音 -- 他的噸位、他的笑容、他帶給所有人的氣氛，也都造就了他的光環。你會
覺得他生來就擁有上帝給他的一副好嗓子，並且註定要好好享有這份天份，儘可能地將其
分享給世人。 當帕華洛帝在聽眾前輕鬆的歌唱詠嘆調，就如同平常一樣，自然成為全場
的焦點。 而當他在擠滿成千上萬觀眾的海德公園，或人數沒那麼多的柯芬園劇院，你同
樣可以感受到他的感染力之強大。 對他來說，唱歌自然是再快樂不過的事，也是他最珍
惜擁有的天賦。
(上面這段有一句完全是亂翻的，還翻得很囧)
And when the climax of the Three Tenors called for Pavarotti’s party piece
“Nessun dorma”, try as they might neither Domingo nor Carreras could hold
a candle to the Big Man!
當三大男高音一起唱到「公主徹夜未眠」-- 帕老大的曲子 -- 的最高潮時，其他兩人
再怎麼樣用力唱也比不過永遠的ＢＩＧ ＭＡＮ！
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※ 編輯: zimerfan 來自: 123.240.51.65 (11/22 16:52)