Photo: eBayKing of the High C's
Album Overview
Before he became the global phenomenon who filled stadiums with the Three Tenors, before the world knew his name alongside Domingo and Carreras — there was a younger Pavarotti. A voice so extraordinary that a single aria at the Metropolitan Opera in 1972 earned him a title that would follow him for life.
This compilation brings together seven recordings Pavarotti made between 1967 and 1972, capturing the purest, most radiant phase of his career. Every track is a showcase for what made him special: a voice of extraordinary beauty, a natural musicality that seemed effortless, and a high C that could stop time.
The Tracks
Ah! Mes Amis — Pour Mon Ame (Donizetti: La Fille du Régiment)
This is the aria that changed everything. Nine high Cs in sixty seconds, each one a test that separates the merely good from the immortal. Pavarotti’s 1972 Met performance of this aria became the stuff of legend — the audience erupted after the first eight and went into a frenzy at the ninth. In this studio recording, you can hear why. The clarity, the ping, the way each C seems to float in space before the next one arrives.
Spirto Gentil (Donizetti: La Favorite)
A bel canto aria of sublime tenderness. Pavarotti’s voice floats effortlessly over Donizetti’s long-breathed phrases, the gentle spirit of the title captured in every note. The line is pure, the vibrato natural — this is bel canto singing at its finest.
Di Quella Pira (Verdi: Il Trovatore)
Manrico’s defiant call to arms — one of the most famous tenor arias in all of Verdi. Pavarotti unleashes the full power of his voice here, the heroic sweep of the melody matched by the brilliant top notes. The cabaletta is thrilling, each phrase building toward that climactic high C that brings down the house.
Di Rigori Armato (R. Strauss: Der Rosenkavalier)
A surprising inclusion — Strauss’s Italian tenor aria from a German opera. Pavarotti brings a lightness and elegance to this recitative and aria that reveals his versatility. The legato is exquisite, the pianissimo high notes a display of control that few tenors could match.
O Muto Asil (Rossini: William Tell)
Arnold’s great scene from Rossini’s epic — a long, demanding aria that requires both lyrical grace and heroic power. Pavarotti’s breath control is breathtaking: he spins the long melody of the slow section with seemingly endless reserves, then launches into the cabaletta with thrilling abandon.
A Te, O Cara (Bellini: I Puritani)
Arturo’s entrance aria from Bellini’s last opera. This is pure bel canto — long, arching phrases, delicate ornamentation, and a high D-flat that Pavarotti delivers with gossamer delicacy. It is perhaps the most beautiful track on the album, showing the lyrical, tender side of his art.
Che Gelida Manina (Puccini: La Bohème)
Rodolfo’s Act I aria — one of the most beloved tenor arias in opera. Pavarotti’s version is a benchmark: the conversational opening, the growing warmth as he describes Mimì’s hand, the soaring climax on ‘speranza’ that somehow combines tenderness with immense power. This is Pavarotti at his most human, his most lovable.
Listening Notes
This compilation is essential listening for anyone who wants to hear Pavarotti before he became a brand — when he was simply a young tenor with the most beautiful voice in the world. The recordings were made in London between 1967 and 1972, with various orchestras and conductors. The sound quality varies slightly between tracks, but the voice is consistently ravishing.
About the Performer
Italian tenor (1935–2007), renowned as the 'King of High C' for his bright, powerful, and penetrating voice. His 1972 Met performance of La Fille du Régiment with nine consecutive high Cs cemented his legendary status. One of the most famous operatic tenors of the twentieth century.
About the Composer
Italian opera composer (1797–1848), a leading figure of the bel canto era, best known for Lucia di Lammermoor, L'elisir d'amore, and La Fille du Régiment.
Italian opera composer (1813–1901), regarded as the supreme representative of Italian opera, with iconic works such as La Traviata, Aida, Rigoletto, and Il Trovatore.
German composer (1864–1949), a leading figure of late Romanticism and early modernism, known for operas including Der Rosenkavalier, Salome, and Elektra.
Italian composer (1792–1868), famous for his operas including Il Barbiere di Siviglia, William Tell, and La Cenerentola.
Italian opera composer (1801–1835), master of bel canto whose works include Norma, I Puritani, and La Sonnambula.
Italian opera composer (1858–1924), whose masterworks include La Bohème, Tosca, Madama Butterfly, and Turandot.
Taiwan Performance History
Pavarotti first performed in Taiwan in February 1990 at the National Concert Hall in Taipei, where ticket prices set a new record for concerts in Taiwan. He returned for his farewell tour in December 2005 at Taichung Stadium, with all 21,000 tickets sold out. This concert would be his final public performance before his death in 2007.