The King and I
The Uncensored Tale of Luciano Pavarotti's Rise to Fame by His Manager, Friend and Sometime Adversary
-
- ¥2,000
発行者による作品情報
Luciano Pavarotti’s longtime manager and friend tells all. All.
The King and I is the story of the thirty-six-year-old business relationship between Luciano Pavarotti and his manager, Herbert Breslin, during which Breslin guided what he calls, justifiably, “the greatest career in classical music.” During that career, Breslin moved Pavarotti out of the opera house and onto the concert (and the world) stage and into the arms of a huge mass public. How he and Pavarotti changed the landscape of opera is one of the most significant and entertaining stories in the history of classical music, and Herbert Breslin relates the tale in a brash, candid, witty fashion that is often bitingly frank and profane. He also provides a portrait of his friend and client—“a beautiful, simple, lovely guy who turned into a very determined, aggressive, and somewhat unhappy superstar”—that is by turns affectionate and satirical and full of hilarious details and tales out of school, with Pavarotti emerging as something like the ultimate Italian male. The book is also enlivened by the voices of other players in the soap opera drama that was Pavarotti’s career, and they are no less uncensored than Herbert Breslin. The last word, in fact, comes from none other than Luciano Pavarotti himself!
The King and I is the ultimate backstage book about the greatest opera star of the past century—and it’s a delight to read as well.
PUBLISHERS WEEKLY
In this outspoken and entertaining book, the authors chronicle Breslin's 36 years as publicist and manager for tenor Pavarotti, from the early days when the singer was, Breslin says, "a very beautiful, simple, lovely guy," to the final years of his career, when Breslin found him "a very determined, aggressive, and somewhat unhappy superstar." In Breslin's frank telling, Pavarotti emerges as a charming but utterly impossible man with an outsized ego, a need to dominate, a total disregard for other people (from secretaries and coaches to world-renowned conductors) and a passion for food, women, horses and money. Breslin is blunt about Pavarotti's many quirks and foibles, such as his superstitions, his inability to read music and his frequent failure to learn the words of his opera parts in time for performances. Accounts of the singer's missteps in recent years, such as the embarrassing final Metropolitan Opera appearances, are especially unflattering. Tenor and manager parted by mutual agreement, but Breslin doesn't take the separation lightly. Pavarotti seems unaffected by the acrimony; the book concludes with an interview he gave Midgette, a classical music reviewer for the New York Times, in which he expresses appreciation for his longtime manager and friend. (Oct.)
