The New York Times webはいち早く長文の追悼記事を掲載しました。その最初の部分を引用するとともに、昨日19時までの新聞社ネット上の掲載状況を記録しておきました。
［ローマ ６日 ロイター］がんを患っていた世界的なイタリア人テノール歌手、ルチアーノ・パバロッティさんが６日、死去した。７１歳だった。パバロッティさんのマネジャーが明らかにした。
The New York Times
Luciano Pavarotti, Italian Tenor, Is Dead at 71
・The New York Times web の記事本文は下記の通り。
Mark J. Terrill/Associated Press
By BERNARD HOLLAND
Published: September 6, 2007
Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died early this morning at his home in Modena, in northern Italy. He was 71.
His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York and had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25.
“The Maestro fought a long, tough battle against the pancreatic cancer which eventually took his life,” said an e-mail statement that his manager sent to The Associated Press. “In fitting with the approach that characterized his life and work, he remained positive until finally succumbing to the last stages of his illness.”
Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity.
Early in his career and into the 1970s he devoted himself with single-mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it.
By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Pla´cido Domingo and Jose´ Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos.
And in the early 1990s he began staging Pavarotti and Friends charity concerts, performing side by side with rock stars like Elton John, Sting and Bono and making recordings from these shows.
Throughout these years, despite his busy and vocally demanding schedule, his voice remained in unusually good condition well into middle age.
Even so, as his stadium concerts and pop collaborations brought him fame well beyond what contemporary opera stars have come to expect, Mr. Pavarotti seemed increasingly willing to accept pedestrian musical standards. By the 1980s he found it difficult to learn new opera roles or even new song repertory for his recitals.
And although he planned to spent his final years, in the operatic tradition, performing in a grand worldwide farewell tour, he completed only about half the tour, which began in 2004. Physical ailments, many occasioned by his weight and girth, limited his movement on stage and regularly forced him to cancel performances. By 1995, when he was at the Metropolitan Opera singing one of his favorite roles, Tonio in Donizetti’s “Daughter of the Regiment,” high notes sometimes failed him, and there were controversies over downward transpositions of a notoriously dangerous and high-flying part.
Yet his wholly natural stage manner and his wonderful way with the Italian language were completely intact. Mr. Pavarotti remained a darling of Met audiences until his retirement from that company’s roster in 2004, an occasion celebrated with a string of “Tosca” performances. At the last of them, on March 13, 2004, he received a 15-minute standing ovation and 10 curtain calls. All told, he sang 379 performances at the Met, of which 357 were in fully staged opera productions. In the late 1960s and 70s, when Mr. Pavarotti was at his best, he possessed a sound remarkable for its ability to penetrate large spaces easily. Yet he was able to encase that powerful sound in elegant, brilliant colors. His recordings of the Donizetti repertory are still models of natural grace and pristine sound. The clear Italian diction and his understanding of the emotional power of words in music were exemplary.