Monday, Oct. 28, 2002 | 8:22 a.m.
How do you "review" an opera icon whose 40-year-plus career redefined "superstar" in the opera world and even today, at age 67, brings audiences to their feet, cheering, whistling and applauding with all their hearts?
The answer: with affection, admiration, honor, respect and, ultimately, honesty.
Saturday night's concert at Mandalay Bay Events Center celebrated not only Luciano Pavarotti's "Farewell to Las Vegas" but also commemorated his inauguration of the Events Center on April 10, 1999, and his return with Placido Domingo and Jose Carreras as the Three Tenors a year later.
It was a homecoming of sorts, a reunion with the faithful.
Pavarotti shared the stage with Italian soprano Annalisa Raspagliosi, who joined him in duets and as soloist. They were backed by an excellent orchestra under the direction of Leone Magiera. Identified as the World Festival Symphony, the ensemble was mostly composed of Las Vegas musicians, including concertmaster Rebecca Ramsey.
The overall sound was superb -- resonant, balanced and sonorous.
The program highlighted arias drawn, primarily, from Italian operas for which Pavarotti is famous. Puccini dominated with "Tosca," "Turandot," "Madama Butterfly," and "La Boheme."
"La Boheme" is a cornerstone of Pavarotti's career. His debut as the poet Rodolfo at Teatro Municipale of Reggio Emilia on April 29, 1961, was his first professional triumph. His big break came in 1963 at Covent Garden, London, when he substituted for the tenor scheduled to sing Rodolfo and subsequently sang in a British television production that drew 15 million.
He also debuted in "La Boheme" at La Scala in Milan in 1965 and at New York's Metropolitan Opera House in 1968 and sang Rodolfo in the first "Live from the Met" telecast in March 1977.
Pavarotti and Raspagliosi closed the first half of the concert with three arias from the first act, when Rodolfo and Mimi meet. Pavarotti sang "Che gelida manina" (how cold your hand). Raspagliosi responded with "Si, mi Chiamano Mimi" (They call me Mimi). The two paired for "O Soave Fanciulla" (Thou beauteous maiden).
Pavarotti's technique is impeccable. It's a prime force now that his brilliant tenor shows some timbre of a baritone. His pitch is precise; his phrasing, smooth. He sings with authority and supreme presence. What is missing are the extended high notes, the depth and roundness of tone, which, at times, sounds a little forced.
Raspagliosi is a young dramatic soprano. She has power, eloquent tone and a rich voice that moves effortlessly from low to high notes. She is currently singing primarily in Italy. However, her interpretation of individual roles is not yet refined, with the result that her Tosca resembles her Madame Butterfly, which resembles her Mimi.
As Mimi she became animated -- modest, coy and expressive. In fact, when she and Pavarotti paired for this duet, and their duets in general, their voices became most responsive and supple, warm with patina. Their eyes shone, and their body language and vitality of sound spoke eloquently.
After intermission, Pavarotti performed one of his signature arias, "Vesti la Giubba ... Ridi Pagliacci" from "Pagliacci" by Leoncavallo. Knowing his wife has been unfaithful, Canio/Pagliaccio, head of a troupe of strolling players, vows revenge on her lover. As he puts on his clown costume he laments the clown must laugh although his heart is breaking. Pavarotti's despairing tone roused the audience to an exuberant response.
A second duet, the "Cherry Song" from "L'amico Fritz," by Mascagni, created charming interplay between the singers. The joyful tone and relaxed, lyric lift of their voices were outstanding. Pavarotti's voice displayed a youthful quality and his clear tenor elegance.
It's unfortunate there weren't more duets. Pavarotti and Raspagliosi have exceptional synergy and chemistry.
The evening moved to its close with Raspagliosi's graceful interpretations of two songs from operettas by Lehar. Pavarotti concluded with "Non ti Scordar Di" by De Curtis, a poignant choice since it translates, "Do not forget me." His final high note triggered a standing ovation.
Three encores followed: "Granada," "O Sole Mio," with Pavarotti's bravura trill bringing down the house; and both singers joining in the "Drinking Song" from Verdi's "La Traviata," for which the audience served as chorus, la-la-ing through the familiar melody under Pavarotti's direction.
It was a special evening.
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