Luciano Pavarotti discusses some of his traits
BROADCAST: Dec. 9, 1976 | DURATION: 00:19:50
Synopsis
Being a Pisces, Pavarotti says he's always looking for perfection. He admits the biggest critic of his work is himself. Pavarotti said that he loves the charm of the French language and he likes to learn new languages. He talks of recording some music in Russian. Being able to reach those high C notes, Pavarotti says, is the most athletic part of his voice.
Transcript
Tap within the transcript to jump to that part of the audio.
Studs Terkel Some call them the primo tenor of our day. He is the tenor of our time Luciano Pavarotti who is who delights audiences critics anywhere in the world everywhere he sings. You know he's Cavaradossi in the Lyric Opera's "Tosca." A year ago he was my guest. And so perhaps the beginning of this program Signor Pavarotti, we'll hear the beginning of your conversation last year and we'll pick it up from there after this message.
Studs Terkel As Nemorino, the peasant with all those dreams and love potions and frustrations and the "Cavatina" from Donizetti's "Elixir of Love."
Luciano Pavarotti It is like you hear, it is pure bel canto song and like you know this role is one of the most important role of my career. If I can choose two role to it it to put my career in [reserve?] let's say you choose this, Nemorino, and the last one I have sing in the open night in San Francisco last September who is "Il Travotore." That is the two opposite role for a tenor. I think not easy to do in the same time--
Studs Terkel I'm
Luciano Pavarotti Do a role like that. Nemorino one side--
Luciano Pavarotti And Manrico on the other. And they think, I don't know, I think it was both very good. [Unintelligible] to say--
Studs Terkel What's remarkable here is the light the comic opera funny, Nemorido Nemorino kind of a clown but funny and endearing--
Luciano Pavarotti Well the life is a little like that. I am a little like that. I think if we cannot laugh at ourself the life is very boring. In an other word if you don't have enough sense of humor to live it's not is not so great. Especially in our in our in our business in our profession.
Studs Terkel That was a year ago luciano Pavarotti. And here's the question of giftedness plus sense of humor. You must have the ability to laugh.
Luciano Pavarotti Well. Like I say one year ago I repeat now, the life is very poor without sense of humor without trying to enjoy more than is possible and see the world for what the word is and not dramatize too much. Some think [it is not really?] like that and to really be the best we can.
Studs Terkel But this role, you've done so many roles. Nemorino is a natural, by the way you're opening the Lyric season next--
Luciano Pavarotti The next year, yes.
Studs Terkel We are opening with these beautiful roles for tenor. What's beautiful for Caruso, or beautiful for Schipa, Tagliavini, De Stefano, Gigli, all the greatest tenor of the past and I hope is good even for me. Is not new and already is very good but how you will be good even here [in this
Studs Terkel You are a natural for that. Again the humor, the guy who's sort of a clown figure in a way isn't he?
Luciano Pavarotti Yes but, it is written so beautifully. From the composer, word and music and the center of the of the whole opera is going around Nemorino.
Studs Terkel They call you, you know you've heard this many times. "King of the high C's." Now what is it, this is interesting. To reach a high C we hear about this in stories, books. That's considered it isn't it?
Luciano Pavarotti Well it is like triple [I think] in the swimmer or something like that. Is the most athletic part of the voice and the most the most athletic part of our profession. And I don't think it's the best but is something who if you have is better.
Studs Terkel But you always, we talk about, I remember last time a year ago we talked about you and Modena where you're from you know.
Luciano Pavarotti Yes.
Studs Terkel And the contests butwere always in your case always it was-- your father who was a working man but loved art and music.
Luciano Pavarotti He's crazy even now about. He was in New York with me when I sang for the first time opening with "Travotore" there. And he did suffer and enjoy himself of
Luciano Pavarotti Suffer because you know "Di quella pira" is very difficult cabaletta especially if you sing in the full voice and in the right key like it's written now with the orchestra are going around the [words?] always a little a high then the [past?] is even more difficult than, and he knows this, and he was a little suffering--
Studs Terkel Oh you were doing Manrico you going to-- We're going to hear you do "De quella pira"--
Luciano Pavarotti Yeah.
Studs Terkel Later in the program we'll talk about Manrico and "Travotore". And your father suffering.
Luciano Pavarotti Yes.
Studs Terkel But it's we're near the season, the holiday season Christmas season and of course you do wonderful carols and holy night songs too. You're repertoire's a broad one, so.
Studs Terkel Let's take a whack at those.
Luciano Pavarotti I think, I think it's something I always want to do, an album of a religious song for any event is some some happy song on this album is some sad song then you can be played even for Easter--
Studs Terkel Yeah.
Luciano Pavarotti If you like. Is [unintelligible] [even?] and I think is an album then everybody likes to have.
Studs Terkel This is one of your London albums, it's called "O Holy Night."
Luciano Pavarotti Yes.
Studs Terkel Should we hear the one of Adam? Song about--
Luciano Pavarotti Yes, "Holy Night."
Studs Terkel It's one of those familiar sacred songs but sung as rarely sung by Luciano Pavarotti. Almost anything is part of your repertoire as long as there's a beauty to it.
Luciano Pavarotti Well, almost, is going on I am 41 and I am putting everything together. I hope to have a lot of other things to sing, French repertoire for example. This song was sung in French, the second part like is original written and I think I am going to record minimum three or four French opera in the future.
Studs Terkel "Faust" of course.
Luciano Pavarotti Oh "Faust" for sure. "Carmen" for sure and perhaps "Manon" and "Werther." It is my, in my dream. I like these opera, I like this language very much we are cousin, are very close. In fact my dialect the dialect of my city is full of French words.
Studs Terkel Modena?
Luciano Pavarotti Almost the same than French. Then it is the reason because we were dominated from France for many years.
Studs Terkel Aaah.
Luciano Pavarotti And we keep what we did like and we of course we change a little and sometimes it's not so easy to speak French because it's so similar but in the same way it's not perfect [close?]. Then we go to our dialect and it is. But I like I understand the the charm of this beautiful language.
Studs Terkel What's interesting in listening to "O Holy Night," the English was marvelous so it's easy how you are able to flow from one language to another. You say the difficulty of French for you is that, the similarities.
Luciano Pavarotti Yes.
Studs Terkel So the nuances are the ones you have to work
Luciano Pavarotti I think the new language I like very much and one language I will like very much in the future to sing is Russian and I am already planning to do something in Russian. It's, I like very much Russian music even--
Studs Terkel Mussorgsky songs, maybe.
Luciano Pavarotti Yes, Mussorgsky songs, I love of this beautiful thing.
Studs Terkel So let's say French for now because you were doing "Faust." So what aria should we do from-- "Salut, demeure"?
Luciano Pavarotti Yes I think is very very good.
Studs Terkel You want to set the scene for that? You want to set the scene, in the opera.
Luciano Pavarotti Oh well he's just arriving, the tenor, the tenor decide, ask to be like you know the tenor, the opera begin when and he's an old man asking to become young--
Studs Terkel His pact with the devil.
Luciano Pavarotti yes, and the devil say yes if you give me your anima.
Studs Terkel Spirit.
Luciano Pavarotti Then of course he did accept and he is arriving in a place where is a beautiful girl who live in this house and is Marguerite and [he gives his sole attention?] to their houses and to the girl who is inside.
Studs Terkel Now how could Marguerite resist that high C?
Luciano Pavarotti She did not [laughter].
Studs Terkel This is a tragedy for Marguerite and yet she ascended to heaven so it couldn't have been too bad.
Luciano Pavarotti Well you know young people don't [resist even? listen?] to love phrasing.
Studs Terkel We're talking also-- Here you're serenading in a sense, so we're talking about the troubadour. We think of Manrico naturally. So let's for the moment because now we're going to come to "De quella pira" in a minute, so. And you as Manrico in "Travotore." So let's just take the slight pause for a moment un momento.
Luciano Pavarotti Yeah.
Studs Terkel Resuming the conversation with Luciano Pavarotti and he's known as primo tenoro. That's it, that's it, he is--
Luciano Pavarotti This is the title of a record.
Studs Terkel It is a title of a record?
Luciano Pavarotti I don't know if you give me this label--
Studs Terkel Well it's a title of a record [made?] London, Manrico. I suppose this role is one that is a stirring and challenging one isn't it?
Luciano Pavarotti Well this role in my city boys of my age, they were making serenade with these [aria title?] then even if it's not so romantic because everybody [wants? once?] sing this. Everybody who has the the tenor voice wants to sing Manrico of course. Even if he has a very light voice and was a dream for me and the become true two years ago in San Francisco last year and I hope at the Met this year and I did have a great satisfaction from the role. I [not intend?] sing many many times this role but in the appropriate theater when it I think is the right time I
Studs Terkel Maybe come here to Chicago.
Luciano Pavarotti Would be marvelous.
Studs Terkel This then is Manrico. He hears this challenge to the oppressors to those [women?]. This is the defiance isn't it?
Luciano Pavarotti Yeah I don't know. Perhaps I didn't understand you.
Studs Terkel Oh Manrico, what he's saying here he's challenging.
Studs Terkel Manrico
Luciano Pavarotti Oh si si si. He knows he going to die anyway. He knows very well he's going to die because he's a desperate case going to try to to liberate--
Studs Terkel Rescue his mother. He thinks his mother, Azucena.
Luciano Pavarotti His mother. He knows very well he is going to die. But he's furious and he's full of love for the mother and he's still deciding to go there.
Studs Terkel No wonder every young Italian tenor wants a tackle at it because it has everything and it doesn't?
Luciano Pavarotti And after that he can't [can?] even die on the stage really.
Studs Terkel That's everything. That's got drama.
Luciano Pavarotti Everything. Is very very complete role and intending like the music must be sung [that in?] our days in which they don't care just about the top but even phrasing, even more the acting. I think is very very exciting role; difficult but exciting.
Studs Terkel Course Verdi I suppose in all almost all of Verdi's operas the theme of liberation,
Luciano Pavarotti Of course, we were submitted at the time we were trying to--
Studs Terkel The Austrian monarchy.
Luciano Pavarotti Yes. And the--
Studs Terkel Hapsburgs.
Luciano Pavarotti Our patriot, reading on [Italian] the wall, "Viva Verdi." They intend "Viva: Vittorio Emanuele Rey de Italia" spelling VERDI. Vittorio Emanuele Rey de Italia.
Studs Terkel These are the code words for freedom.
Luciano Pavarotti Yes and it was like that. The music is always a dream of liberty, and strong in any sense. And the little country but in the in the in the positive way.
Studs Terkel Almost everything, most every one of them from "Nabucco" on almost--
Luciano Pavarotti Yes,
Studs Terkel Everyone had this seam of--
Luciano Pavarotti Sure.
Studs Terkel Freedom. "Simon Boccagnegra." Everything.
Luciano Pavarotti Yes, yes, yes, yes.
Luciano Pavarotti Yes.
Studs Terkel So, I'm thinking of your variety, of your range Luciano Pavarotti.
Studs Terkel Tosti, not songs, just--
Luciano Pavarotti Well this song this song is the preferred song of my wife. The words are not what she like more because this is dedicated to a lady and I say to her I don't love you anymore. But she liked the music very much and I think it's a beautiful piece of music to be here.
Studs Terkel We know of Tosti because very popular.
Luciano Pavarotti Yes.
Studs Terkel Tosti's "Goodbye."
Luciano Pavarotti Yes.
Studs Terkel But this is a more, this more, what
Luciano Pavarotti [Italian]
Studs Terkel And this is what he's saying, "Listen it's over but it was nice. It was nice while it lasted."
Luciano Pavarotti He say, well no, he say, "I don't need you anymore. I don't love you anymore. I am not suffering you anymore for you. I am looking for another love. And thank God I don't love you anymore because I did suffer." But the music is so beautiful that is my wife prefers songs. She doesn't care about the words.
Studs Terkel That's beautiful. You know there's still some question in that song, Luciano, that question. Maybe the guy still loves her, you know he says he's--
Luciano Pavarotti Well like he sang, even if he's not the best in my opinion like this particular song he's made much better when I do on the stage because there is more pathos and more concentration I think in this particular song. But perhaps you are right, the idea is that then he still love him, he still love her, and I think the this feeling the music drive the people think like that.
Studs Terkel You just said something interesting and that's that's the hallmark of a great artist. You yourself are not [always?], even though the audience applauds you and critics say fine, you yourself are still challenging
Luciano Pavarotti The problem is unfortunately I was born the twelve October with the Libra sign and I am looking for perfection. Even I know don't exist. And what bothers me even if it's a little thing is more important than the work that puts me happy. Then I will never be more happy than I should be sure I will always less. I think the greatest the most the biggest critic of myself--
Luciano Pavarotti Yes
Studs Terkel I noticed at the very beginning when you're singing "O Holy Night," the sacred song you were listening; it was beautiful. You know the one you did bilingually, but you seemed something, you wanted that to have another more more tempo.
Luciano Pavarotti Well you know we change taste through the year, and I will do it in another way the next time, I'm sure. And some of these music we did here was made two years ago and of course there is no more the same taste. I don't think the taste can stay forever in the same way. The music is the same of course but the age and experience and the education through the experience who come to me of course puts me in the way to change my mind,
Studs Terkel Always growing. There's lesser-known opera works so there's Cilea "L'arelesiana."
Luciano Pavarotti Very beautiful. Another lamento, Federic lamento. He won't sleep, this man. He's like me now because in Chicago we don't sleep more than three three hours a day. I am very very good diet but this diet, the stomach is almost empty--
Luciano Pavarotti And never able to sleep.
Studs Terkel I should point out that Luciano Pavarotti is out to lose some weight. So this diet is keeping you restless?
Luciano Pavarotti Yes three hours, four hours a night is not so much.
Studs Terkel But you then you resist temptation.
Luciano Pavarotti Well is easy, is a beautiful diet.
Studs Terkel Yeah.
Luciano Pavarotti I am never hungry, really.
Studs Terkel But you get up though. What do you do--
Luciano Pavarotti I
Studs Terkel What do you do? What do you think when you get up in those hours? You play music?
Luciano Pavarotti I play a lot and I read a lot of music because I don't have enough time to study the music demands from me.
Studs Terkel You can hear the station's all-night radio program. WFMT.
Luciano Pavarotti Even I do. Generally I do and I congratulate your, you for this.
Studs Terkel That's a way of getting a plug in. Luciano Pavarotti, coming to this role. This role Federico was the one I understand that Caruso created.
Luciano Pavarotti Yes and through the year I think Caruso will be forever. Not just of this role but even they other, the greatest interpreter.
Studs Terkel Is it Caruso you look toward, of all the tenors through operatic
Luciano Pavarotti Well he is so different from all the other. The phrasing and the expression, and is in my opinion the most close to the true of the things. I don't know what he is. I don't even don't like discover because everybody every tenor try discover Caruso imitating him. They they lose the voice.
Studs Terkel This is in-- Before we hear the Cilea, this lament of Frederico [sic], what you say is very fascinating, that is if someone wants to discover the secret of Caruso it is his personal--
Luciano Pavarotti Yes, I have no doubt about it.
Studs Terkel Secret. Whereas the singer you Pavarotti must find your own.
Luciano Pavarotti Yes I think so. I think so. First of all a sign of personality second the sign for freedom in the voice. You cannot sing like other people did, I am sure of this. Especially when this man is Caruso with a throat so big, so open, and so [brown?] sound. He become from a baritone like you know, and this [brown?] sound was inside of himself for all his life and imitating him I think he's a very very very big risk and not intelligent.
Studs Terkel Here then is Pavarotti's Frederico [sic]. This is Pavarotti. "L'arlesiana" of Cilea.
Studs Terkel We're fading this. What's interesting about fading your "L'arlesiana," here again, you, Luciano, you were shaking your head here you see cause today you would do it differently.
Luciano Pavarotti Oh no doubt about this. No doubt about this.
Studs Terkel So here are you, Cavaradossi, we'll do it.
Luciano Pavarotti "Recondita Armonia"
Studs Terkel OK. This is why you first you sing of your love for Tosca.
Luciano Pavarotti Yes. And I tell you is beautiful opera is going to be, is giving me a lot of satisfaction. I'm very very happy for this.
Studs Terkel So we hear it as it was that opening night on stage as no doubt tonight differently, because each time it's different.
Luciano Pavarotti Yes.
Luciano Pavarotti And even this is life you know, more exciting
Studs Terkel Of course. Here then,
Studs Terkel
Luciano Pavarotti
Studs Terkel Some call them the primo tenor of our day. He is the tenor of our time Luciano Pavarotti who is who delights audiences critics anywhere in the world everywhere he sings. You know he's Cavaradossi in the Lyric Opera's "Tosca." A year ago he was my guest. And so perhaps the beginning of this program Signor Pavarotti, we'll hear the beginning of your conversation last year and we'll pick it up from there after this message. As Nemorino, the peasant with all those dreams and love potions and frustrations and the "Cavatina" from Donizetti's "Elixir of Love." It is like you hear, it is pure bel canto song and like you know this role is one of the most important role of my career. If I can choose two role to it it to put my career in [reserve?] let's say you choose this, Nemorino, and the last one I have sing in the open night in San Francisco last September who is "Il Travotore." That is the two opposite role for a tenor. I think not easy to do in the same time-- I'm Do a role like that. Nemorino one side-- And Manrico-- And Manrico on the other. And they think, I don't know, I think it was both very good. [Unintelligible] to say-- What's remarkable here is the light the comic opera funny, Nemorido Nemorino kind of a clown but funny and endearing-- Well the life is a little like that. I am a little like that. I think if we cannot laugh at ourself the life is very boring. In an other word if you don't have enough sense of humor to live it's not is not so great. Especially in our in our in our business in our profession. That was a year ago luciano Pavarotti. And here's the question of giftedness plus sense of humor. You must have the ability to laugh. Well. Like I say one year ago I repeat now, the life is very poor without sense of humor without trying to enjoy more than is possible and see the world for what the word is and not dramatize too much. Some think [it is not really?] like that and to really be the best we can. But this role, you've done so many roles. Nemorino is a natural, by the way you're opening the Lyric season next-- The next year, yes. We are opening with these beautiful roles for tenor. What's beautiful for Caruso, or beautiful for Schipa, Tagliavini, De Stefano, Gigli, all the greatest tenor of the past and I hope is good even for me. Is not new and already is very good but how you will be good even here [in this city?] You are a natural for that. Again the humor, the guy who's sort of a clown figure in a way isn't he? Yes but, it is written so beautifully. From the composer, word and music and the center of the of the whole opera is going around Nemorino. They call you, you know you've heard this many times. "King of the high C's." Now what is it, this is interesting. To reach a high C we hear about this in stories, books. That's considered it isn't it? Well it is like triple [I think] in the swimmer or something like that. Is the most athletic part of the voice and the most the most athletic part of our profession. And I don't think it's the best but is something who if you have is better. But you always, we talk about, I remember last time a year ago we talked about you and Modena where you're from you know. Yes. And the contests butwere always in your case always it was-- your father who was a working man but loved art and music. He's crazy even now about. He was in New York with me when I sang for the first time opening with "Travotore" there. And he did suffer and enjoy himself of course-- Suffer too! Suffer because you know "Di quella pira" is very difficult cabaletta especially if you sing in the full voice and in the right key like it's written now with the orchestra are going around the [words?] always a little a high then the [past?] is even more difficult than, and he knows this, and he was a little suffering-- Oh you were doing Manrico you going to-- We're going to hear you do "De quella pira"-- Yeah. Later in the program we'll talk about Manrico and "Travotore". And your father suffering. Yes. But it's we're near the season, the holiday season Christmas season and of course you do wonderful carols and holy night songs too. You're repertoire's a broad one, so. Well I think-- Let's take a whack at those. I think, I think it's something I always want to do, an album of a religious song for any event is some some happy song on this album is some sad song then you can be played even for Easter-- Yeah. If you like. Is [unintelligible] [even?] and I think is an album then everybody likes to have. This is one of your London albums, it's called "O Holy Night." Yes. Should we hear the one of Adam? Song about-- Yes, "Holy Night." It's one of those familiar sacred songs but sung as rarely sung by Luciano Pavarotti. Almost anything is part of your repertoire as long as there's a beauty to it. Well, almost, is going on I am 41 and I am putting everything together. I hope to have a lot of other things to sing, French repertoire for example. This song was sung in French, the second part like is original written and I think I am going to record minimum three or four French opera in the future. "Faust" of course. Oh "Faust" for sure. "Carmen" for sure and perhaps "Manon" and "Werther." It is my, in my dream. I like these opera, I like this language very much we are cousin, are very close. In fact my dialect the dialect of my city is full of French words. Modena? Almost the same than French. Then it is the reason because we were dominated from France for many years. Aaah. And we keep what we did like and we of course we change a little and sometimes it's not so easy to speak French because it's so similar but in the same way it's not perfect [close?]. Then we go to our dialect and it is. But I like I understand the the charm of this beautiful language. What's interesting in listening to "O Holy Night," the English was marvelous so it's easy how you are able to flow from one language to another. You say the difficulty of French for you is that, the similarities. Yes. So the nuances are the ones you have to work on. I think the new language I like very much and one language I will like very much in the future to sing is Russian and I am already planning to do something in Russian. It's, I like very much Russian music even-- Mussorgsky songs, maybe. Yes, Mussorgsky songs, I love of this beautiful thing. So let's say French for now because you were doing "Faust." So what aria should we do from-- "Salut, demeure"? Yes I think is very very good. You want to set the scene for that? You want to set the scene, in the opera. Oh well he's just arriving, the tenor, the tenor decide, ask to be like you know the tenor, the opera begin when and he's an old man asking to become young-- His pact with the devil. yes, and the devil say yes if you give me your anima. Spirit. Then of course he did accept and he is arriving in a place where is a beautiful girl who live in this house and is Marguerite and [he gives his sole attention?] to their houses and to the girl who is inside. Now how could Marguerite resist that high C? She did not [laughter]. This is a tragedy for Marguerite and yet she ascended to heaven so it couldn't have been too bad. Well you know young people don't [resist even? listen?] to love phrasing. We're talking also-- Here you're serenading in a sense, so we're talking about the troubadour. We think of Manrico naturally. So let's for the moment because now we're going to come to "De quella pira" in a minute, so. And you as Manrico in "Travotore." So let's just take the slight pause for a moment un momento. Yeah. Resuming the conversation with Luciano Pavarotti and he's known as primo tenoro. That's it, that's it, he is-- This is the title of a record. It is a title of a record? I don't know if you give me this label-- Well it's a title of a record [made?] London, Manrico. I suppose this role is one that is a stirring and challenging one isn't it? Well this role in my city boys of my age, they were making serenade with these [aria title?] then even if it's not so romantic because everybody [wants? once?] sing this. Everybody who has the the tenor voice wants to sing Manrico of course. Even if he has a very light voice and was a dream for me and the become true two years ago in San Francisco last year and I hope at the Met this year and I did have a great satisfaction from the role. I [not intend?] sing many many times this role but in the appropriate theater when it I think is the right time I will-- Maybe come here to Chicago. Would be marvelous. This then is Manrico. He hears this challenge to the oppressors to those [women?]. This is the defiance isn't it? Yeah I don't know. Perhaps I didn't understand you. Oh Manrico, what he's saying here he's challenging. Oh, si. Manrico Oh si si si. He knows he going to die anyway. He knows very well he's going to die because he's a desperate case going to try to to liberate-- Rescue his mother. He thinks his mother, Azucena. His mother. He knows very well he is going to die. But he's furious and he's full of love for the mother and he's still deciding to go there. No wonder every young Italian tenor wants a tackle at it because it has everything and it doesn't? And after that he can't [can?] even die on the stage really. That's everything. That's got drama. Everything. Is very very complete role and intending like the music must be sung [that in?] our days in which they don't care just about the top but even phrasing, even more the acting. I think is very very exciting role; difficult but exciting. Course Verdi I suppose in all almost all of Verdi's operas the theme of liberation, of Of course, we were submitted at the time we were trying to-- The Austrian monarchy. Yes. And the-- Hapsburgs. Our patriot, reading on [Italian] the wall, "Viva Verdi." They intend "Viva: Vittorio Emanuele Rey de Italia" spelling VERDI. Vittorio Emanuele Rey de Italia. These are the code words for freedom. Yes and it was like that. The music is always a dream of liberty, and strong in any sense. And the little country but in the in the in the positive way. Almost everything, most every one of them from "Nabucco" on almost-- Yes, Everyone had this seam of-- Sure. Freedom. "Simon Boccagnegra." Everything. Yes, yes, yes, yes. And Manrico too. Yes. So, I'm thinking of your variety, of your range Luciano Pavarotti. Tosti, not songs, just-- Well this song this song is the preferred song of my wife. The words are not what she like more because this is dedicated to a lady and I say to her I don't love you anymore. But she liked the music very much and I think it's a beautiful piece of music to be here. We know of Tosti because very popular. Yes. Tosti's "Goodbye." Yes. But this is a more, this more, what [Italian]. [Italian] And this is what he's saying, "Listen it's over but it was nice. It was nice while it lasted." He say, well no, he say, "I don't need you anymore. I don't love you anymore. I am not suffering you anymore for you. I am looking for another love. And thank God I don't love you anymore because I did suffer." But the music is so beautiful that is my wife prefers songs. She doesn't care about the words. That's beautiful. You know there's still some question in that song, Luciano, that question. Maybe the guy still loves her, you know he says he's-- Well like he sang, even if he's not the best in my opinion like this particular song he's made much better when I do on the stage because there is more pathos and more concentration I think in this particular song. But perhaps you are right, the idea is that then he still love him, he still love her, and I think the this feeling the music drive the people think like that. You just said something interesting and that's that's the hallmark of a great artist. You yourself are not [always?], even though the audience applauds you and critics say fine, you yourself are still challenging yourself. The problem is unfortunately I was born the twelve October with the Libra sign and I am looking for perfection. Even I know don't exist. And what bothers me even if it's a little thing is more important than the work that puts me happy. Then I will never be more happy than I should be sure I will always less. I think the greatest the most the biggest critic of myself-- Is yourself. Yes I noticed at the very beginning when you're singing "O Holy Night," the sacred song you were listening; it was beautiful. You know the one you did bilingually, but you seemed something, you wanted that to have another more more tempo. Well you know we change taste through the year, and I will do it in another way the next time, I'm sure. And some of these music we did here was made two years ago and of course there is no more the same taste. I don't think the taste can stay forever in the same way. The music is the same of course but the age and experience and the education through the experience who come to me of course puts me in the way to change my mind, always. Always growing. There's lesser-known opera works so there's Cilea "L'arelesiana." Very beautiful. Another lamento, Federic lamento. He won't sleep, this man. He's like me now because in Chicago we don't sleep more than three three hours a day. I am very very good diet but this diet, the stomach is almost empty-- Oh, really? And never able to sleep. I should point out that Luciano Pavarotti is out to lose some weight. So this diet is keeping you restless? Yes three hours, four hours a night is not so much. But you then you resist temptation. Well is easy, is a beautiful diet. Yeah. I am never hungry, really. But you get up though. What do you do-- I What do you do? What do you think when you get up in those hours? You play music? I play a lot and I read a lot of music because I don't have enough time to study the music demands from me. You can hear the station's all-night radio program. WFMT. Even I do. Generally I do and I congratulate your, you for this. That's a way of getting a plug in. Luciano Pavarotti, coming to this role. This role Federico was the one I understand that Caruso created. Yes and through the year I think Caruso will be forever. Not just of this role but even they other, the greatest interpreter. Is it Caruso you look toward, of all the tenors through operatic history? Well he is so different from all the other. The phrasing and the expression, and is in my opinion the most close to the true of the things. I don't know what he is. I don't even don't like discover because everybody every tenor try discover Caruso imitating him. They they lose the voice. This is in-- Before we hear the Cilea, this lament of Frederico [sic], what you say is very fascinating, that is if someone wants to discover the secret of Caruso it is his personal-- Yes, I have no doubt about it. Secret. Whereas the singer you Pavarotti must find your own. Yes I think so. I think so. First of all a sign of personality second the sign for freedom in the voice. You cannot sing like other people did, I am sure of this. Especially when this man is Caruso with a throat so big, so open, and so [brown?] sound. He become from a baritone like you know, and this [brown?] sound was inside of himself for all his life and imitating him I think he's a very very very big risk and not intelligent. Here then is Pavarotti's Frederico [sic]. This is Pavarotti. "L'arlesiana" of Cilea. We're fading this. What's interesting about fading your "L'arlesiana," here again, you, Luciano, you were shaking your head here you see cause today you would do it differently. Oh no doubt about this. No doubt about this. So here are you, Cavaradossi, we'll do it. "Recondita Armonia" OK. This is why you first you sing of your love for Tosca. Yes. And I tell you is beautiful opera is going to be, is giving me a lot of satisfaction. I'm very very happy for this. So we hear it as it was that opening night on stage as no doubt tonight differently, because each time it's different. Yes. But that same quality-- And even this is life you know, more exciting I Of course. Here then, Cavaradossi. Beautiful. Is "Mille
Luciano Pavarotti My pleasure. Great pleasure to have met you. Like
Studs Terkel So as you say that so gracefully in the English I will say grazie,
Luciano Pavarotti
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