Legend of Pavarotti carries the night at Caesars

Marilyn LaRocque

Monday, March 1, 2004 | 8:24 a.m.

The performance, appropriately held at The Colosseum at Caesars Palace, drew a near-capacity crowd in the 4,100-seat venue.

Soprano Cynthia Lawrence joined Pavarotti for an evening of snippets, rather than nuggets, from the Italian repertoire for which the legendary tenor is famous. Several selections had been included in Pavarotti's previous world tour.

There is no need to catalog Pavarotti's achievements, awards and contributions to not only the music world but to the global community.

Although the soaring tones and crystal shattering high Cs have faded, his impeccable technique, pitch-perfect notes and world-famous personna carried him through this fond farewell.

Pavarotti entered from the back of the stage, walking through the center of the Glenwillow Symphony Orchestra. His hand rested on the shoulder of pianist/conductor Leone Magiera, who helped Pavarotti navigate the sloping stage. A glaring spotlight caused him to shield his eyes as he moved forward.

After reaching the front of the stage, Pavarotti raised his arms wide above his head in his trademark greeting to the audience, which roared its welcome.

Once settled in the curve of the piano, he placed a hand on each side against the top, again to deal with the sloping stage, a situation he remarked about toward the end of the program. (On a sloping stage, a singer must maintain balance by expending muscle power and energy that otherwise would be devoted to performance.)

Pavarotti appeared uncomfortable. Instead of making eye contact with the audience, he frequently glanced downward toward his music stand. It seems unbelievable that he had to read the music. Perhaps it was a song list. Nevertheless, it was a distraction.

Another surprise was the veritable forest of microphones positioned throughout the orchestra and the others in front of the singers.

Since opera singers' voices, and orchestra sound, reach the rafters of even the largest opera house without amplification, what necessitated the electronic boost?

However, the system was well tuned and balanced with only the slightest echo, and the orchestra accompanied the singers effectively.

After a slow start of three short, simple works by Tosti sung by Pavarotti to piano accompaniment, the evening gained momentum with the arrival of Lawrence. Her first two songs, both by Bellini, were "Vaga Luna che in Argenti and "Vanne, O Rosa Fortunate."

A dramatic soprano of considerable reputation, she possesses a powerful, rich voice that flows freely throughout an extensive range. She has an animated style and expressive facial and hand gestures.

Pavarotti and Lawrence returned to the stage for three arias from Puccini "La Boheme," the opera in which Pavarotti debuted at the opera house in Reggo Emilia on April 29, 1961.

The third, the impassioned love duet "O Soave Fanciulla" ("O Beauteous Maiden"), which closed the first half of the program, brought Pavarotti to life. His interaction and emotional response to Lawrence and the music engendered warmth of tone, smiles, and full power as he eased into the upper register with volume and emotion.

The audience responded with its most enthusiastic applause of the first half of the program.

The second half shifted into high gear, beginning with three arias from Puccini's "Tosca." Pavarotti finally appeared relaxed and comfortable. His "Recondita Armonia di Bellezza Diverse" ("Strange Harmony of Contrasts Deliciously Blending"), a love tribute to Tosca sung by Mario, displayed strong vocal presence and eye contact with the audience, which yelled and applauded loudly.

It was followed by Lawrence's eloquent, dramatically intense, yet controlled, "Vissi d'arte," Tosca's heart-breaking lament over the capture of her beloved and her realization that the only possible way to save him is to give herself to the contemptible Scarpia.

"Bravos" followed Pavarotti's "E Lucevan le Stelle" ("When the Stars Were Shining Brightly"), Mario's tender, but melancholy, reminiscences of Tosca.

As the program built toward its climax, Pavarotti and Lawrence joined in the poignant duet of Mario and Tosca, "Ah, Quegli Occhi." This was the longest selection on the program. Pavarotti summoned up his vocal reserves for a flowing, glowing sound and some of his highest notes of the evening.

The synergistic interpretation by both singers was outstanding and cheered by the audience.

"Villia" from Lehar's "Merry Widow" and "My Man's Gone Now" from Gershwin's "Porgy and Bess" showcased the versatility of Lawrence's talent.

Next, the Spanish flair and rhythms of Di Lazzaro's "Chitarra Romana," followed by the lively and forceful "La Mia Canzone al Vento ("Song to the Wind"), paved the way for Pavarotti's stellar rendition of Leoncavallo "Mattinata," the program's finale, which catapulted the audience to its feet in "Standing O."

Prolonged cheers, bravos, and applause brought Pavarotti and Lawrence back to he stage. Pavarotti's signature encores, "Granada" and "O Sole Mio," brought down the house and triggered more ovations.

Responding to the audience, Pavarotti said, "You all know this next piece. I will conduct you. Watch for when it is your turn. Do not clap. It will ruin your performance."

The piece? The famous drinking song, "Libiamo," or "Brindisi," from Verdi's "La Traviata." The uproar that followed must have been heard all the way out into the casino and beyond, a fitting tribute to the giant talent that has illuminated the music world and thrilled millions for over four decades.

Bravissimo!