For millions of people all over the world Luciano Pavarotti literally was Classical music. This outstanding collection of popular oprera arias and duets, sacred songs, and Neapolitan favourites is drawn from the finest recordings Luciano Pavarotti made during an unparalleled career, and presents the definitive profile of one of the most important voices of all time. From 'La Donna E Mobile', 'O Sole Mio' and 'Torna a Sorriento' to Christmas classics 'O Holy Night' and 'Panis Angelicus', including, of course, his celebrated 'Nessun Dorma'. Bonus duets with Andrea Bocelli ('Notte e piscatore'), Cecilia Bartoli ('Cherry Duet') and Frank Sinatra ('My Way') included.
Carreras Domingo Pavarotti in Concert (re-released as The Three Tenors in Concert) is a live album by José Carreras, Plácido Domingo and Luciano Pavarotti with conductor Zubin Mehta. The album was recorded on July 7, 1990 in Rome as the first Three Tenors concert with the orchestra of the Maggio Musicale Fiorentino and the orchestra of Teatro dell'Opera di Roma on the evening before the 1990 FIFA World Cup Final…
Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. (BBC MUSIC MAGAZINE)
This studio recording was made in 1989 coinciding with a memorable production from the Metropolitan Opera, later captured on DVD. It's a delightful performance, and a wonderful highlight of Pavarotti's later career. Kathleen Battle's sparkling soprano is a brilliant accompaniment to Pavarotti's still-ringing tone.
"Pavarotti's voice was still beautiful and pliable, his phrasing exquisite. And he loved the role of Nemorino and always seemed happy with both its comedy and pathos–he steals every scene he's in, and no one minds…Kathleen Battle sings Adina with perfect, pearl-like tone, absolute fluency and commitment, and a trill to die for…Enzo Dara is an ideal Dulcamara, just the right combination of huckster and sentimentalist, with ease in every register and with fast music."
– Robert Levine, ClassicsToday.com
Gaetano Donizetti opera's La Favorita originally had a French libretto and the title La Favorite. One of Donizetti’s finest music dramas, it was written at his peak as an orchestrator. The Italian, and better-known version, evolved two years after the French premiere and has become the more-performed version, exemplified by this famous 1974 recording starring Luciano Pavarotti, Fiorenza Cossotto, Gabriel Bacquier and Nicolai Ghiaurov. Pavarotti's voice has been called "youthful and fresh" on this album. Pavarotti's frequent collaborator Richard Bonynge conducts the Orchestra of the Teatro Comunale, Bologna.