A recording of Pavarotti’s stage debut (as Rodolfo in Puccini’s “La Bohème”) reveals a voice with all the top notes we recognize but little of the breath control and legato that made his singing feel effortless and inexhaustible. He was, in fact, one of the greatest artists of the last century, and there is sufficient attention here to his early years, before the stadium concerts and when he still seemed to care deeply about giving a full performance, to remind everyone just how extraordinary his voice was. Still, despite the omissions and the intellectual drivel driving its narrative, Howard’s “Pavarotti” is still an occasion for reflection, and the picture it presents of the tenor is sufficiently rounded that those new to his artistry will likely be beguiled.
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