BocelliOnline

[Big Fan Sue]

I see nothing anywhere about his performance? DId he collapse?
Suppose to see him in TISCA at the MET this coming Saturday. Hope he shows up. :?
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BOCELLI YOU'RE THE BEST!!!

[Melodie]

Found it:

AUDIENCE LUCKY PAVAROTTI MADE RETURN TRIP

Despite age, opera star delights crowd

By JULIA OSBORNE
REVIEW-JOURNAL

Goodbye doesn't always mean forever. Just two years ago, opera star Luciano Pavarotti appeared in what he adamantly described as his last Las Vegas appearance. He left the stage at the Mandalay Bay Events Center with sincere and plentiful "goodbyes."

It's safe to assume those in the audience at the lavish Colosseum at Caesars Palace on Saturday were not disappointed his previous statement was untrue. Most of the 4,149 seats in the auditorium were filled with adoring fans who held onto his every note, lovingly shouting "bravo" and requesting -- and receiving -- several encores.

As Pavarotti nears 70, no one should expect to hear painfully long notes or see unbridled emotion -- but an average day with Pavarotti is still worlds above an outstanding performance by almost any other tenor in the business.

From his first entrance onto the stage, Pavarotti did seem to be showing his age, as he leaned heavily on pianist and conductor Leone Magiere and held his hand in front of his face to shield his eyes from the spotlight. Walking slowly to his spot in front of the Steinway, he firmly positioned his back against the piano and steadied himself with both hands slightly behind him on the instrument during almost all of the concert.

His unsteadiness caused some in the audience to sigh and whisper: Was he suffering from an illness similar to what caused the cancellation of his performance at the Metropolitan Opera in New York City two years ago? Were these indications of some unannounced disease or deteriorating condition?

Pavarotti offered a different explanation -- though not until the midst of a series of encores, much later. "I am walking onstage with a little difficulty," he said, "because of Celine (Dion)" -- the regular occupant of the angled stage. "I have to watch my step because of the angle." Still, he quickly added, "we are very happy here."

This was the first stop of a world tour that next will take him to perform "Tosca" in what could be characterized as a "make-good" at the Metropolitan Opera, before stops in Japan, Greece and Spain.

Pavarotti was accompanied by a 66-piece orchestra -- about half the members from Las Vegas and the rest from Los Angeles -- under the direction of Magiera, who regularly works with the tenor. Both performed in white tie and tails.

Soprano Cynthia Lawrence, who has appeared with opera companies throughout the world and occasionally with Pavarotti since 1989, offered several inspired solos as well as capable and attractive duets with him.

The star smiled slightly and began the concert with minimal introduction, a large white cloth clutched in his left hand. Early numbers, accompanied only by Magiera on piano, were not up to his standards. He seemed to be reading words and music to Francesco Paolo Tosti's "La Serenata" and "Non T'amo Piu," his eyes and chin lowered toward a music stand, with only occasional glances at the audience.

By the third selection -- Tosti's "Malia" -- he did seem to warm to his task, sustaining the concluding note and raising his hands and arms in the air with a series of grateful "thank yous" in English before departing the stage as he came, with Magiera.

There were repeated comings and goings by the three principals throughout the evening.

Lawrence then took the stage, accompanied by Magiera. In a long, sky-blue gown with lace bodice and elbow-length sleeves, the blond soprano threw herself into her work, only occasionally glancing at her music and finally abandoning it completely after her music stand broke and was toted off the stage about halfway through the concert. Expressive and charming, she was at times a coquettish, strong and willing foil to Pavarotti's words, as well as presenting a commanding character during each of her solos.

Before intermission, they both showed strength in Giacomo Puccini's "O Soave Fanciulla," one of Pavarotti's most emotional offerings of the evening.

After the break, the sequence continued with solos and duets. Puccini's "Recondita Armonia" from "Tosca" was one of Pavarotti's best offerings of the evening, at once challenging and captivating.

Here and throughout the evening, Magiera conducted in a low key and efficient manner, as he did two years ago. Tuxedo sleeves pushed up slightly, he often worked with one hand, coaxing the best from the musicians -- who had rehearsed together for just two days.

Pavarotti did not talk much with the audience until the encores, offering simply "thank yous" until the conclusion of the evening. Then, he did chat briefly, about the stage and the program for the evening.

Encores were the best work of the night. On "O Sole Mio," the tenor was in his element, and the audience approved with rave response, including a standing ovation.

The evening closed with a sing-along of "El Brindis" from Giuseppe Verdi's "La Traviata." Pavarotti and Lawrence made this into a trio, as he encouraged the audience to join in. "You know this piece," he said. "You will sing, and we will conduct you -- whether you sing or just hum along." The audience lustily took the opportunity to work with one of the best.

Perhaps this is actually Pavarotti's last appearance here. If so, he can always remember that -- despite minimal negatives -- he left Las Vegas a true winner.

http://www.reviewjournal.com/lvrj_home/2004/Mar-02-Tue-2004/living/23335561.html

[Janice]

Is it the norm in classical concerts for the singers to read their music as they go and not have it memorized? I wasn't surprised to see this review mention Pav reading the music--I remember him doing that at the Pav. and Friends concert with Andrea beside him who obviously has to carry his music in his head. I was surprised when it mentioned the soprano also had her music on a stand. She didn't really need it as it turned out. But when it mentioned her music also out there, it made me wonder--do they all use "cheat sheets"? :?

[Kenzu]

That is true Janice. Singers of that class shouldn´t have "cheat sheets" infront of them while performing, my opinion too. I understand the sheets if a student takes them with him/her but a master with years of training and performing.........wonder why????? The explenation could be in the lack of practising or in the state of mind(uncertain of himself/herself) regarding the program, well thats not an excuse though?
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"Ex nihilo nihil fit"

[LaSignoraMusica]

That's true. Singers should try to sing everything from memory, except oratorio and cantata's. I think this is the general opinion. Only in for instance contemporary music, which is often very difficult, if not impossible to learn by heart, it is also admitted. Ok, I did it also, had a large operetta programme in a retirement home. So the music stand was at close distance to have an occasional peek. But my last recital, which contained 20 artsongs, was completely from memory. Only then you can fully concentrate on the interpretation and your contact with the audience. I really try to do that, keeping in mind that Andrea does everything from memory except his work in the studio. This is also the reason why I don't understand that Pavarotti and his soprano both used sheet music. Especially the italian songs, which belong to the standard repertoire of every italian tenor of that generation, I think. Or maybe it's just that he has so many aria's in his head that he forgot about the lyrics of the Tosti songs? And maybe the soprano used the stand out of some solidarity with Pav? All questions, and we don't know the real reason. Anyway, I hope Pav will have a worthy goodbye-tour.
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I believe in the equality of all people, I try to respect all living creatures, and I believe in the power of love....

[Kenzu]