In Stadium Return, Pavarotti Triumphs

Critics may debate whether arena shows such as the Three Tenors create an audience for opera. But the fact is that Luciano Pavarotti had a fair-sized crowd Friday at the Great Western Forum singing along to the Brindisi from Verdi’s “La Traviata.”

It’s true that Verdi wrote a catchy tune and that many people were singing only “La la la la.” But a number were singing in Italian, and this without benefit of supertitles in any language--or even of such common arena accouterments as huge video screens.

The Verdi tune was the last of four encores that Pavarotti sang on a program he shared with soprano Annalisa Raspagliosi and the Glendale Symphony led by Marco Armiliato.

Ignoring calls for his signature “Nessun dorma” (from Puccini’s “Turandot”), Pavarotti sang as encores “Granada,” “La donna e mobile” (from Verdi’s “Rigoletto”) and “O sole mio.”

It was somewhat fitting that the concert took place in a stadium because Pavarotti had to overcome some severe vocal problems--and did so.

No one had announced that he was indisposed. But the famous voice sounded cloudy, tight, gravelly and strained in such short Puccini selections as “Addio, fiorito asil” (“Madama Butterfly”), “Ch’ella mi creda” (“La Fanciulla del West”) and “Recondita armonia” (“Tosca”), and this despite sympathetic tempos by Armiliato.

It was only after “Che gelida manina” (Puccini’s “La Boheme”) that he was able to clear his throat, and the familiar warmth, gold and vocal ease flooded back, even with the tenor’s 64 years, in “Addio alla madre” (Mascagni’s “Cavalleria Rusticana”) and “Vesti la giubba” (Leoncavallo’s “Pagliacci”). Vocal wear resurfaced, however, in songs by Leoncavallo, Sibella and De Curtis.

Raspagliosi brought ample dramatic richness to “Un bel di” (“Butterfly”), “Vissi d’arte” (“Tosca”), “Mi chiamano Mimi” (“Boheme”) and, especially, “Tacea la notte placida” (Verdi’s “Il Trovatore”), among other selections.

In addition to the “Traviata” Brindisi, the two sang the close of “Boheme” Act I (“O soave fanciulla”) and the “Cherry” duet from Mascagni’s “L’amico Fritz.”

Armiliato led the orchestra with energy. The amplification system was on good behavior, and the vocal texts emerged vividly.