也许有人觉得作为纪录片,本片是不完整的。本片没有提到帕瓦罗蒂因为太多次取消演出,让世界几大歌剧院(包括伦敦的科文特花园)十分头疼。在他取消了41场原定演出其中的26场后,美国三大歌剧院之一的芝加哥歌剧院干脆就不和他合作了。本片也没有提到帕瓦罗蒂记词能力真的很差,甚至连自己唱过无数次的咏叹调都记不住词。在那个没有提词器的年代,有一次和大指挥家乔治·索尔蒂合作威尔第的《奥赛罗》演出中,居然坐在一把巨大的高椅子上,下面有个人肉提词器举着歌词板。
但是!很大的但是!
对于一个为歌剧在世界大范围的传播做出如此巨大贡献的人,对于一个极富社会责任感尽心尽力在全世界做慈善的人,这些争议又算得了什么的,瑕不掩瑜。
本片我觉得最高光的时刻,莫过于1990年世界三大男高在罗马那场世纪性的演出!之前也看过很多次录像,但本片三人对此的评论更是有趣。原本以为像多明哥、卡雷拉斯、帕瓦罗蒂三个男高聚一起必然是彗星撞地球,火光四射的场面,没想到他们回忆说排练时半点争执都没有,一片融洽,而且仿佛心有灵犀,你唱这儿我唱那儿分得轻松愉快!这恐怕就是高山流水遇知音吧!然而真正上台演唱的时候,有趣的事儿就来了,三个差不多年过半百的人居然像男孩子一般起了攀比之心,你唱一段唱得好,我唱一段要比你更出彩,然后三人笑着,在这种愉快的氛围中放各种大招!真是太酣畅淋漓了!我觉得光是为了这一段,就值得看这本纪录片。
当然,出现在片中的大腕让人目不暇接。除了前面说到的多明哥、卡雷拉斯以外,还有戴安娜王妃、Bono、祖宾·梅塔、安南、曼德拉、恩里科·卡鲁索,连我国出产的郎朗也评论了一下帕瓦罗蒂对中国人认识歌剧的影响。中间还有一段帕瓦罗蒂来北京演出,那么大的身躯骑着小小的自行车从 天-安-门前进过,实在是极富喜感。
本片比较可惜的地方就是可能预算不够,用到的演唱片段都非常短(且高损,没办法)。且采访对象不够丰富,问的问题挖掘也不够深度。这一点我觉得可以和 Ken Burns 导演的音乐纪录片作对比,Ken Burns的一系列纪录片在挖掘人性、社会度上都很经典。
最后列一下出现在本片的演唱选段:
- 普契尼:《图兰朵》 /第3幕 - Nessun dorma
- 柯蒂斯:Voce 'e notte
- 多尼采蒂:《团队的女儿》/第1幕 - "Pour mon âme quel destin"
- 多尼采蒂:《爱情灵药》/第2幕 - "Una furtiva lagrima"
- 威尔第:《阿依达》/第1幕-“ Celeste Aida”
- 多尼采蒂:Me voglio fa' 'na casa
- 威尔第:《弄臣》 /第1幕 - "Questa o quella"
- 威尔第:《弄臣》 /第3幕 - "女人善变"
- 普契尼:《波西米亚人》/第1幕 - “ O soave fanciulla”
- 普契尼:《托斯卡》/第3幕 - “ E lucevan le stelle”
- 莱翁卡瓦洛:《丑角》 /第1幕 - "Vesti la giubba"
- Lama: Silenzio cantatore
- Tosti:'A vucchella
- 威尔第:《茶花女》 /第1幕 - “ Libiamo ne'lieti calici”
- 《我的太阳》
- 普契尼:《玛侬·莱斯科》/第1幕 - "Donna non vidi mai"
- Miss Sarajevo,和Bono合作
- 斯特拉代拉:Pietà, Signore
- 舒伯特:《圣母颂》
八卦的气息扑面而来。我不太清楚究竟帕瓦罗蒂的八卦对于他整一段生命而言,有多么地重要。但人们似乎相信着,这些八卦具备着强而有力的证据,证明帕瓦罗蒂曾经活过。
诚然,绯闻八卦十分吸引人,也是帕瓦罗蒂生活的一部分,也是展开他性格描述的好途径。但就私生活角度而言,绯闻八卦反而占据了一个过重的地位。尽管我们看到所有与他相关的女人们都出镜了,但我们对于他的另外一个身份几乎一无所知,作为父亲作为一家之长,帕瓦罗蒂到底经历了什么。我们只能从三位女儿的只言片语间去猜测帕瓦罗蒂在家庭到底是怎样的存在。
尤其是绯闻八卦与帕瓦罗蒂本身的成就本没有过多挂钩,只是用来丰满人物形象的情况下,过重的八卦还不如破碎家庭的“哭诉”。如何在工作中抽身陪同孩子的成长,与原配妻子是如何恶化的等等。假如并非客观因素掣肘,而是主观引导,我会比较失望。
除此之外,比较奇怪的是,采访的几乎是同僚,几乎少有作为朋友、同学这种身份的采访者。算是很大的一个遗憾,离塑造一个完整的人物还是缺失了那么点。 所以至少,我并不认为该纪录片较完整呈现了谁是“帕瓦罗蒂”。
“King of the High C’s”, in Ron Haward’s PAVAROTTI, Luciano Pavarotti (1935-2007) is likened as “Enrico Caruso of his generation”, contested by the opening footage of him belting out in a derelict theatre house amid the Amazon jungle where once Caruso performed.
This cradle-to-grave biographical documentary offers a comprehensive outlook to this beloved opera superstar, chronologically from his humble start, his meteoric rise, continually accruing popularity, unorthodox career moves (consorting with pop and rock ’n’ roll stars) until his demise. Interviewees range from his peers (Domingo, Carreras, Mehta), his close associates (Madelyn Renée Monti, who was also his paramour, promoters Rudas and Goldsmith) , collaborators (Bono) to his immediate family members, amongst which his first wife (Adua Veroni), second wife (Nicoletta Mantovani) and three daughters all speak personally and candidly about their feelings of this large man.
As far as an artist’s documentary goes, Howard’s film is more than satisfactory on the whole level, encapsulating Pavarotti’s famous renditions and concerts with key footage, singling out his powerful timbre and, in particular, his child-like, personable image which is packaged with his voice as the wow factor to entice worldwide followers. Iconic performances including “La bohème” in Beijing, China, 1986 (a short interview of Lang Lang is simply to achieve a name-dropping effect), and the Three Tenors concert at the ancient Baths of Caracalla in Rome, 1990. It is a purely ASMR moment to regard and hear his voice reach and sustain the crescendo, such a gift extraordinaire.
Through interview footage, the tenor himself also gives some introspection on his inner thoughts about his family, his legacy and himself. It is also pleasurable to see he is pally with Princess Diana, and his charity endeavor has a far-reaching influence.
So, in relation to his visit to Beijing in 1986, DeWitt Sage’s DISTANT HARMONY is a curio for not just opera fans. The documentary closely follows Pavarotti’s activities in China, including a singing class for Chinese singers (the clip is also appropriated in Ron Howard’s PAVAROTTI), and his full-on participation in Beijing opera, with make-up and all the appurtenances.
The film projects an outsider’s curiosity to peek into the Middle Kingdom hitherto has been somewhat a myth to an occidental audience, and in accordance with its subject, its main point of entry is through music. Beijing opera is juxtaposed with western opera, violin versus erhu, teenage girls dancing to tune of a western pop song signals the benignant message of harmony, also martial art is part of the furniture for Chinese propaganda, but virtuosity is a stunner resided in those young practitioners.
Sage’s documentary records a bygone era with a certain degree of tenderness and tentativeness, although in retrospect, insight is in short measure. For example, the inexorable cultural clash between both parties in orchestrating this historical event is ruefully underrepresented here. What in abundance is Pavarotti’s affable persona and open-faced curiosity, his impression of a China opening to the west lingers on the differences colored by mythicism rather than human commonality. Just like the title implies, Pavarotti is a cultural herald of forthcoming collaborations and cooperations, but the West still keeps a leery eye on such “harmony”, a barrier rapturously dismantled by the tenor’s unrivaled voice and unfeigned charisma.
referential entries: Tom Volf’s MARIA BY CALLAS (2017, 7.6/10); Asif Kapadia’s AMY (2015, 8.3/10).
Title: Pavarotti
Year: 2019
Genre: Documentary, Biography, Music
Country: USA, UK, France, Italy
Language: English, Italian, Spanish, French, Russian
Director: Ron Howard
Writers: Cassidy Hartmann, Mark Monroe
Music: Ric Markmann, Matter Music, Dan Pinnella, Chris Wagner
Cinematography: Axel Baumann, Luca Cuiti, Michael Dwyer, Alan Gwizdowski, Tom Hurwitz, Patrizio Saccò, Michael Wood
Editor: Paul Crowder
Stars:
Adua Veroni
Madelyn Renée Monti
Nicoletta Mantovani
Plácido Domingo
José Carreras
Angela Gheorghiu
Zubin Mehta
Andrea Griminelli
Harvey Goldsmith
Lang Lang
Bono
Herbert H. Breslin
Michael Kuhn
Rating: 7.7/10
Title: Distant Harmony
Year: 1987
Genre: Documentary, Music
Country: USA
Language: English
Director/Writer: DeWitt Sage
Cinematography: Richard Gordon, Miroslav Ondrícek
Editors: Coco Houwer, Victor Kanefsky, Sam Pollard, Oreet Rees
Stars:
Luciano Pavarotti
Madelyn Renée Monti
Rating: 7.3/10
我不是音乐方面的行家,也没怎么关注过歌剧,虽然片中的音乐选段真的很震撼,但是我印象最深刻的,还是帕瓦罗蒂的笑脸。我是说,怎么能有人笑的这么标准,这么有感染力呢?
就像朗朗说的那样,当他拿着手帕展开双臂绽放出帕瓦罗蒂式招牌笑容的时候,我真的有一种想把我的全世界对他打开的冲动...
而且还有一点很神奇的是,片中所有曾与他建立过亲密关系的人,不论男女,都对他评价极高...即使他劈腿,耍大牌,闹脾气,越界和摇滚歌手合作,大家最后还是很喜欢他,这真的是魔法啊...看到后面我猜测,这很可能是因为他总是笑脸迎人。也就是说,他是一个非常积极乐观幽默风趣又富有感染力的人,他最后一任女友回忆起来说,和他在一起时就慢慢不会为了些鸡毛蒜皮的小事生气了,因为他会慢慢教会你,生活中有更多更美好的事情值得去浪费时间...
老实说,我也想成为这样的人...想要做一个把正能量和美感带给别人的人,也许这才是更为智慧的为人处世之道。我们这代年轻人总是会把忧郁、厌世之类的标签视作最高,然而一直以来总是摆着一张自以为高级的厌世脸示人的我,实际上并没有从中获得什么实质性的好处,甚至可以说慢慢把自己塑造成了一个不好接近的疏离人物。这就像,人们赞美阴雨天的别样氛围,但真下雨了他们还是照样打伞,千方百计避雨...
真的很想做一个被大家喜欢的开朗女孩呢。就从像帕瓦罗蒂一样笑开始吧!
It's 11/4/2020 and I'm stressed out waiting for an official offer from my new employer in Beijing after I just bought the ticket back to China from where I am now - the United States (Washington, DC, to be precise) - while a completely unexpected general election result is still pending.
Could not focus on my current job here working from home. Could not continue following the news anymore. Forced myself to sleep in the early evening after the work schedule, woke up after 2-3 hours, felt even worse and realized that it was time to distract myself from the anxious waiting, the politics or the business in shock. This was when I decided to look for a relaxing/healing movie.
I started with those on SHOWTIME because I just started free trial there. Since I felt like escaping the reality, I browsed all the movies by genres (except documentaries) and sadly, found nothing even bearable. Therefore I had to start over with all movies, and suddenly, saw Pavarotti, the documentary among all others. It didn't take me any hesitation to click on it.
I went to a lot of operas and concerts all through my earlier life (yes everything's gone since the start of covid-19), was an alto myself in my college chorus and even took a course on opera appreciation. Although I'm not a tenor person (in general, I prefer baritones), Pavarotti is obviously no stranger.
Like everyone, I was mostly familiar with O Sole Mio and Nessun Dorma. But you'd still be astounded every time listening to a man so gifted to sing the highs and lows and highers so well in his NATURAL voice. What more could I say. I was just thirsty for more of his singing and didn't have enough in the documentary. This is not necessarily a defect in this documentary, considering that I could be one of the few people who still relish operas in their entireties in addition to the arias, in the age of fractured fast-food information and entertainment. You can look up for these famous arias and even full operas online anyway.
So the documentary should be about just him - his personal life in addition to the professional one. I vaguely remember some of the romantic rumors around him and some of the controversies. This documentary walks us through all these in a concise manner, yet it feels personal. A good job done by the director. It could be easy and difficult when you have a great number of footages all through his life and availability of people to interview. BTW, I don't have a strong view on how well the interviews went - the cuts are just fine.
I'm not sure if I would have given this a 5-star if it wasn't because of the personal relief it brought me for this exact moment. In my opinion, one could potentially present something better with this plenty of footages, access to his family members and celebrity friends and most importantly, such a legendary life story. A 4/4.5 (just as the current 8.3 suggested) may be more accurate.
I didn't mean to write a comment for a documentary on a legendary man. Otherwise, I wouldn't have started in English on Douban if I meant for anyone else to look at it. I just wanted to document this toxic moment for myself at a place where some relief was given - something positive just for myself. However, and unsurprisingly, English literature takes more bytes and it easily exceeded the word limit for short comments. So here I am, and I wish no one be offended by the language used.
其实也不算是影评,只是被纪录片中那些动人的音乐和片段感染,想单独记录一下而已
印象最深的,是U2和帕瓦罗蒂现场演奏的《萨拉热窝小姐》,之前只听过U2演唱的版本,并不知道帕瓦罗蒂也曾参与演唱,但确实动人很多,看着戴安娜王妃如同迷妹般的眼神,你会觉得,哪怕自己听不懂,但好的音乐确实没有语言和国界。
这是音乐完整版和live版,希望每一个听到的人,都喜欢Brian Eno/Bono/The Edge/Luciano Pavarotti/Orchestra Filarmonica di Torino/Michael Kamen《Miss Sarajevo (Live)》//c.y.qq.com/base/fcgi-bin/u?__=anDa01q @QQ音乐
Passengers/Luciano Pavarotti《Miss Sarajevo》//c.y.qq.com/base/fcgi-bin/u?__=479a01c @QQ音乐
其次是世界三大男高音同台演唱会,在世界杯开赛前,像世人贡献了一场绝无仅有的音乐盛宴。一开始卡雷拉斯和多明戈好像在相互商量,之后开唱,明显没有按照事先演出的排练进行,帕瓦罗蒂也明显有些不悦,似乎形成了二打一的局面,可转过身自己又拔高一层之后,两个“挑战者”都觉得唱的漂亮,再接过来高唱回敬,这时候的帕瓦罗蒂完全没了刚刚的不悦,反倒兴奋至极,这一幕真的令观众难忘,像他给卡雷拉斯生病时打电话说的一样“你得赶紧好起来,要不然我可没了对手”,没想到先离开的,却是帕瓦罗蒂,而片中最后的感言,不再是对手,不再是音乐,只是“我希望我是个好丈夫,好父亲”也不禁令人唏嘘。
#2020国家大剧院国际歌剧电影展# 国家大剧院歌剧厅的空间倒是让人想起各种电影宫。资料工作一流,中规中矩的人物传记纪录片。我比较喜欢的一点是花了很多笔墨来讲歌剧和古典音乐唱片的产业机制。帕瓦罗蒂这么红原来是因为在美国乡下(没有歌剧院的小城市)开巡回个人音乐会,他的经纪人通过这一模式整个改变了歌剧的行业规则。
好想在电影院里看,三大男高音合唱的时候,我的内心气流翻滚
他还有很多不完美,包括对婚姻的不忠,包括他喜欢带着全家去演出,包括他可以不请自来……但他仍旧影响了很多人,关注公益,甚至成功破圈。毕竟是独一无二的帕瓦罗蒂,也是绝无仅有。
看完本片,对帕瓦罗蒂过于商业化的认知得到了一定的改善。你能大致了解“世界最后的男高音”的成就,但想要知道他究竟是什么样的人,就只剩下只言片语可以寻觅。
音乐和爱是这个世界上最棒的东西
才发现帕瓦罗蒂年轻的时候也挺英俊的,所以即使后来胖成那样了,形象看上去也还行。到了后期稍微有点飘,他的人生就像那些高音一样,激情四溢,酣畅淋漓。
八六年在天安门广场开心地骑自行车哈哈哈
帕瓦罗蒂说:“要用上帝给予的天赋,将歌剧带给大众。”他做到了,我想,对帕瓦罗蒂毫无了解的观众,也都听过《今夜无人入眠》和《我的太阳》(尤其是内地观众)。而他的纯真、童趣和那富有感染力、亲和力的笑容,同他的歌剧一样令人印象深刻。1990年世界杯的决赛前夕,“三大男高音”帕瓦罗蒂、多明戈、卡雷拉斯在卡拉卡拉浴场上同台献艺,惊为天人。
缺失了很重要的一块,但能展现出来的也足够动人。国家大剧院提升了整个观影体验,感谢数梦邀请。
作为人物纪录片并不是太优秀,对帕瓦罗蒂的负面都轻描淡写或者报以同情。对歌剧完全不了解,但是好几次听人提到老帕不识谱,纯靠天赋,现在想起来人真是有把一切简化的倾向。
可对比去年上映的卡拉斯纪录片,相对中规中矩的事业主线塑造近乎完人的帕瓦罗蒂形象(提到了婚外情的影响,但前妻Adua还是给他献上了赞美之词的粉饰),同时宣扬他的理念的是“把歌剧介绍给全世界”,多次巡演、来中国亦是证明了如此;另,片中有郎朗的对话,也恰逢近日他大婚之际....
作为命题作文,对朗霍华德而言只是中规中矩,种种负面传闻只是一笔带过(诛心而论若是活到今天可能也会被米兔),但作为歌剧艺术的明星,帕瓦罗蒂的魅力集中在两小时,那真是排山倒海,影院里冰凉小手一起,谁顶得住?我想拍卡鲁索也未必能有这效果,因为没那么多影像资料,去世12年也平衡了公、私生活的叙事,技艺上帕瓦罗蒂就是西方最爱的effortless,也抖了摸着萨瑟兰柳腰学习隔膜发声的梗,性格上是意大利式的乐观主义,热爱美食女人趴体巡游(给祖宾梅塔做辣意面,不吃最后一勺减肥,各种忘年交和boy trick),两者交汇在passion for life,90年三高首唱的化学反应是巅峰华彩,04年大都会托斯卡是杜鹃啼血(据说卡拉斯最后演唱也是托斯卡),多明戈说嗓音是女性要感觉,波诺说每个crack都在用生命唱,这就是黄金时代的余晖,86年天安门下骑车,绝啊
通过管家操纵 Bono,老帕情商高得吓人,周围人都被他摆弄的明明白白的,除了歌剧院老板们……
作为传记类纪录片,还是非常工整的,关于帕瓦罗蒂的各方面也都有涉及。虽然没有那么更多惊喜,但也足够更加了解帕瓦罗蒂了。以及,三大男高音世界杯的那次合作,真是巅峰之作,荡气回肠,让人热泪盈眶。
帕瓦罗蒂来华交流/三大男高音首次同台
艺术到底是极致的克制与编排,还是真实情感的自然流露。在以前我一直以为拥有自由嗓音的帕瓦罗蒂区别于卡雷拉斯和多明戈,是后者。而事实是,他用了万倍的努力去不着痕迹。他的际遇与成功,是他的天性、天赋和对人的信任驱使的结果,成为一个世界级的神话。一直以来,我所知道的和我一天生日的艺术家就只有帕瓦罗蒂。冥冥之中也是我一直坚持精进音乐的动力。Grazie Maestro!纵然最终收场是I die in despair, but never have I loved life so much. O sole mio. Nessun Dorma.
帕瓦罗蒂能够用各种可贵的traits诠释为什么真诚的微笑和精湛的技艺造就了如天神下凡般的他,那个名副其实的“King of High C”,那个传奇一般的,隐匿于声音背后的巨人.
他是来自上帝的礼物,他解释了大爱无疆,他才是一个更高级别的存在。1990年那场罗马演唱会将和1985年的Live Aid演唱会一并,成为我遗憾终身的念想。很庆幸自己能静下心来,不然我是不可能知道诸如《今夜无人入眠》《萨拉热窝小姐》这些伟大经典背后的故事。纪录片的魅力!
男高音确实震撼,我也是因为世界杯才了解世界三大男高音,但是只记住了帕瓦罗蒂的名字。
三大男高音第一次合作时候帕瓦罗蒂的表情真的太可爱了;还有Bono讲的,说他不如巅峰之时的人懂个屁音乐。Ron Howard这一部比那Tom Volf 的“Maria by Callas”优秀太多。