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Лучано Павароти: Кралят и аз
Нецензурираната история за възхода на Лучано Павароти към славата, с помощта на неговия мениджър, приятел и на моменти - опонент.
Историята на Лучано Павароти е историята на един много красив, обикновен и прекрасен човек, който прерасна в непоколебима, агресивна и малко нещастна суперзвезда. Историята на мъж, дошъл от малък град в Италия, произхождащ от семейство без много пари, образование или привилегии, и противно на всички очаквания - превърнал се в един от най-известните хора в света. Историята на цената на този успех. Работих с Лучано Павароти, най-великия тенор на света, през трийсет и шест години от живота ми. Понякога той се държеше, все едно командва света наоколо и всички в него, в това число и мен. Понякога беше близък и щедър приятел. Друг път се показваше като истински вадидушник. Но времената ни бяха добри.
Хърбърт Бреслин
Историята на Лучано Павароти е историята на един много красив, обикновен и прекрасен човек, който прерасна в непоколебима, агресивна и малко нещастна суперзвезда. Историята на мъж, дошъл от малък град в Италия, произхождащ от семейство без много пари, образование или привилегии, и противно на всички очаквания - превърнал се в един от най-известните хора в света. Историята на цената на този успех. Работих с Лучано Павароти, най-великия тенор на света, през трийсет и шест години от живота ми. Понякога той се държеше, все едно командва света наоколо и всички в него, в това число и мен. Понякога беше близък и щедър приятел. Друг път се показваше като истински вадидушник. Но времената ни бяха добри.
Хърбърт Бреслин
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First published October 19, 2004
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Displaying 1 - 23 of 23 reviews
February 18, 2012
I gave this two and a half stars because it was somewhat juicy and instructive to me with regard to content only -- as someone writing a novel with an opera backdrop. But it was hastily done--very shabbily written memoir. Here are my observations:
As the subtitle suggests, this book details the story of the decades long business relationship between Luciano Pavarotti and his manager, Herbert Breslin, during which time Breslin guided what he calls, “the greatest career in classical music,” essentially by taking Pavarotti out of opera houses and into the concert world. Pavarotti as a result developed a massive amount of appeal with the public, becoming a household name.
Breslin is quoted as describing Pavarotti as “a beautiful, simple, lovely guy who turned into a very determined, aggressive, and somewhat unhappy superstar”. Pavarotti’s larger than life personality is revealed sometimes with affection but more often with Breslin’s uncensored gimlet eye. Pavarotti is painted as like the ultimate divo in the later stages of his life.
Through the King and I, you learn more than you may have wanted to know about Pavarotti—how dysfunctional and obsessive he was in all facets of his life and how it worsened the more famous he became. Yes, Breslin details the challenges of managing and producing stars and mounting the productions in which they appear. At times, reading this book was like being a fly on the wall at The Met, La Scala, San Francisco Opera House. Because Pavarotti’s personal habits are so colorful, you also get a whopping dose of dirt on other stars, too.
It is amazing that opera houses still thrive (or survive) because of how inconstant stars are and how egomaniacal they can be and those working around them become absorbed in the profitability more than the talent of the star they represent. The reader quickly learns that many stars and their managers become very jaded about opera in general and don’t really care about the art form continuing for the next generation. The world revolves around them.
As I mentioned, it is a very perfunctorily written memoir—nothing much creative about it. Just a journalist sort of bloodletting—not written primarily to smear Pavarotti—it strives for more balance than that. But Breslin certainly takes his swipes. You get a clear sense the Breslin is trying to obtain some justice in writing this book that he wasn’t accorded in his dealings with Pavarotti.
If Breslin never wrote another book it would be too soon.
As the subtitle suggests, this book details the story of the decades long business relationship between Luciano Pavarotti and his manager, Herbert Breslin, during which time Breslin guided what he calls, “the greatest career in classical music,” essentially by taking Pavarotti out of opera houses and into the concert world. Pavarotti as a result developed a massive amount of appeal with the public, becoming a household name.
Breslin is quoted as describing Pavarotti as “a beautiful, simple, lovely guy who turned into a very determined, aggressive, and somewhat unhappy superstar”. Pavarotti’s larger than life personality is revealed sometimes with affection but more often with Breslin’s uncensored gimlet eye. Pavarotti is painted as like the ultimate divo in the later stages of his life.
Through the King and I, you learn more than you may have wanted to know about Pavarotti—how dysfunctional and obsessive he was in all facets of his life and how it worsened the more famous he became. Yes, Breslin details the challenges of managing and producing stars and mounting the productions in which they appear. At times, reading this book was like being a fly on the wall at The Met, La Scala, San Francisco Opera House. Because Pavarotti’s personal habits are so colorful, you also get a whopping dose of dirt on other stars, too.
It is amazing that opera houses still thrive (or survive) because of how inconstant stars are and how egomaniacal they can be and those working around them become absorbed in the profitability more than the talent of the star they represent. The reader quickly learns that many stars and their managers become very jaded about opera in general and don’t really care about the art form continuing for the next generation. The world revolves around them.
As I mentioned, it is a very perfunctorily written memoir—nothing much creative about it. Just a journalist sort of bloodletting—not written primarily to smear Pavarotti—it strives for more balance than that. But Breslin certainly takes his swipes. You get a clear sense the Breslin is trying to obtain some justice in writing this book that he wasn’t accorded in his dealings with Pavarotti.
If Breslin never wrote another book it would be too soon.
June 25, 2018
Book 15 of my #2018readingchallenge is "The King and I: the Untold Story" by Herbert Breslin and Anne Midgette. It's the "uncensored tale of Luciano Pavarotti's rise to fame by his manager, friend, and sometime adversary."
Uncensored is DANG RIGHT. This is a great book if you like to read hard truths about a celebrity. Absolutely amazingly savage, and at times quite generous in praise. Breslin served as Pavarotti's publicist then manager for 36 years, and working for a diva of that magnitude tends to bring some stories.
I don't like opera but I loved this book. Ahhhhhh so good. So juicy! And if you've ever worked for a crazy intense, high maintenance, top-of-their-craft individual, you will just nod and laugh as you read Pavarotti's demands (and sicknesses and superstitions). Thems is the same across the board, I do declare.
Uncensored is DANG RIGHT. This is a great book if you like to read hard truths about a celebrity. Absolutely amazingly savage, and at times quite generous in praise. Breslin served as Pavarotti's publicist then manager for 36 years, and working for a diva of that magnitude tends to bring some stories.
I don't like opera but I loved this book. Ahhhhhh so good. So juicy! And if you've ever worked for a crazy intense, high maintenance, top-of-their-craft individual, you will just nod and laugh as you read Pavarotti's demands (and sicknesses and superstitions). Thems is the same across the board, I do declare.
August 6, 2021
I am assuming that anyone reading this review has already read the book and any spoilers are unintentional. Pavorotti was a very well known celebrity and the book does not reveal anything new.
Did I detect more than a touch of passive aggression here? Herbert Breslin does not come out of this badly ghost written "tell all" leaving a good impression. For 30 years he had milked the cow until it ran dry, and upon almost turning 80, he realised that his meal ticket was tired out and simply going through the motions, so he decided to make a few last dollars by stabbing his cash cow in the back. True, he throws in a few complimentary comments regarding Pavarotti, who was still alive at the time of writing, but few celebrities escape his spiteful digs: 'Placido Domingo was no Pavarotti' "Placido was a poor conductor" then comments on Placido's prodigious work ethic and staying power, doing all the things he criticised Pavarotti for not doing e.g. learning new roles and adding to his repertoire, changing his recital programs to add new material. Soprano Renee Fleming, one of his clients, comes in for some particularly harsh comments - whatever did she do to upset Mr. Breslin? Many singers are described as second rate singers you never heard of, yet I had heard of most of them.
The following two paragraphs may contain spoilers:
From the description of Pavarotti's decline over 30 years from enthusiastic young tenor eager to please, to a jaded overweight singer barely able to walk and going through the motions only when he could not avoid it, allegedly reading the lyrics from cue cards, and cancelling performances at whim, it sounded as if he was tired of the whole thing and merely kept going for the adulation and the money. In his own words, Mr. Breslin admits he was in it for the money, and as much as he could squeeze out of anyone prepared to pay, which is fair enough as that is what agents are for, but he was the PT Barnum of opera shoving his clients into cheesy TV spectaculars and crossovers with Tom Jones, Frank Sinatra, Sting, etc. If he could have persuaded Pavarotti to walk a tightrope dressed as a clown I think he would have done it. His sour grapes dismissal of the super lucrative Three Tenors concerts which he did not promote, but still got his agent's commission, was touched with 'I could have told you so' schadenfreude when they began to falter due to overexposure, yet he did not hesitate to exploit Pavarotti like a circus act.
He was puzzled by Pavarotti's attraction to women. He was fat and by no means the answer to a maiden's prayer, yet he he attracted women in droves who would wait on him hand and foot. Breslin just didn't get it! Pavarotti had Italian charm, flirted and made every woman feel as it she was the only one in the world, even when he was juggling a few others at the same time. A man does not have to be an Adonis to attract women. In addition, having been spoiled rotten by his grandmother, he expected to be mothered, which a lot of needy women were more than happy to oblige, and he was more than happy to accept as his due.
While I did not expect a hagiography, there are enough of those around, overall I found the hatchet job badly written, repetitive and frequently contradictory. I never cared much for Pavarotti's voice as he was too high and I prefer baritones, but I felt that Mr. Breslin actually ruined Pavarotti as a serious opera singer with the endless road shows and TV specials. Mr. Breslin had kept his mouth shut for 30 years not wishing to lose his meal ticket, and now having nothing to lose, he was getting his own back. I look forward to a decent biography in the future.
Did I detect more than a touch of passive aggression here? Herbert Breslin does not come out of this badly ghost written "tell all" leaving a good impression. For 30 years he had milked the cow until it ran dry, and upon almost turning 80, he realised that his meal ticket was tired out and simply going through the motions, so he decided to make a few last dollars by stabbing his cash cow in the back. True, he throws in a few complimentary comments regarding Pavarotti, who was still alive at the time of writing, but few celebrities escape his spiteful digs: 'Placido Domingo was no Pavarotti' "Placido was a poor conductor" then comments on Placido's prodigious work ethic and staying power, doing all the things he criticised Pavarotti for not doing e.g. learning new roles and adding to his repertoire, changing his recital programs to add new material. Soprano Renee Fleming, one of his clients, comes in for some particularly harsh comments - whatever did she do to upset Mr. Breslin? Many singers are described as second rate singers you never heard of, yet I had heard of most of them.
The following two paragraphs may contain spoilers:
From the description of Pavarotti's decline over 30 years from enthusiastic young tenor eager to please, to a jaded overweight singer barely able to walk and going through the motions only when he could not avoid it, allegedly reading the lyrics from cue cards, and cancelling performances at whim, it sounded as if he was tired of the whole thing and merely kept going for the adulation and the money. In his own words, Mr. Breslin admits he was in it for the money, and as much as he could squeeze out of anyone prepared to pay, which is fair enough as that is what agents are for, but he was the PT Barnum of opera shoving his clients into cheesy TV spectaculars and crossovers with Tom Jones, Frank Sinatra, Sting, etc. If he could have persuaded Pavarotti to walk a tightrope dressed as a clown I think he would have done it. His sour grapes dismissal of the super lucrative Three Tenors concerts which he did not promote, but still got his agent's commission, was touched with 'I could have told you so' schadenfreude when they began to falter due to overexposure, yet he did not hesitate to exploit Pavarotti like a circus act.
He was puzzled by Pavarotti's attraction to women. He was fat and by no means the answer to a maiden's prayer, yet he he attracted women in droves who would wait on him hand and foot. Breslin just didn't get it! Pavarotti had Italian charm, flirted and made every woman feel as it she was the only one in the world, even when he was juggling a few others at the same time. A man does not have to be an Adonis to attract women. In addition, having been spoiled rotten by his grandmother, he expected to be mothered, which a lot of needy women were more than happy to oblige, and he was more than happy to accept as his due.
While I did not expect a hagiography, there are enough of those around, overall I found the hatchet job badly written, repetitive and frequently contradictory. I never cared much for Pavarotti's voice as he was too high and I prefer baritones, but I felt that Mr. Breslin actually ruined Pavarotti as a serious opera singer with the endless road shows and TV specials. Mr. Breslin had kept his mouth shut for 30 years not wishing to lose his meal ticket, and now having nothing to lose, he was getting his own back. I look forward to a decent biography in the future.
January 27, 2008
I read this because I have started listening to more opera. I liked the view inside this master's life. However, the author, Luciano's manager for years, has such conflicted feelings about his time with the great singer that it overshadows the good stuff. He just seemed bitter to me. But still a fun read if you are at all interested in Pavarotti. (written before he died)
March 25, 2007
Mmm, trashy.
November 12, 2022
I was disappointed in this book. I'm reading it about 20 years after it was written, so the gossipy nature may not have the same impact as it might have upon publication. My biggest issue with this book is that I really don't know much about what Breslin did or the business in which he operated. Yes, he ensured that Pavarotti did concerts and recitals early in his career, which helped to build Pavarotti's extraordinary career, but that's about the extent of the strategy, at least as Breslin tells it. If that's it, then Breslin has no basis to say (as he does over and over again) that it was his management that led to the tenor's success as one of the most successful and popular musical artists in the world (and for almost 40 years). I suspect Breslin did more management than is in the book, but he doesn't tell us about that.
For a guy who goes on and on about how he never forgets it's a business, Breslin doesn't do a great job of explaining how the business worked, who did what, the economics of the whole thing, and how things changed over time. For example, Breslin boasts about his successful publicity career (The Ed Sullivan Show, etc.), and how he was better at it than other publicists. But he also gives the impression that he was, throughout his career, the best. But the opera business was very different in the 90s and early 2000s than it was in the 1960s. How did Breslin adjust? What connections did he form?
This memoir is about his relationship with Pavarotti, so of course that gets center stage. At various moments, however, Breslin reminds us that he managed and publicized other artists, including some of the most acclaimed of the last 30 years (Renee Fleming, Natalie Dessay), but there's nothing in the book about how he balanced the (what sounds like) all-consuming work of managing Pavarotti and his demands with his responsibilities to other clients. Apparently, his other clients sometimes complained that he gave all his attention to Pavarotti. Breslin's response is, basically, "yes, he's the guy who makes me the money." Okay, so then how did he keep other clients? According to him, he was still working at age 78, when he and Pavarotti ended their professional relationship, so, somehow, he did enough for others. But there's nothing to explain how.
At the end of the book, Breslin insists that he's not bitter. But the majority of the book depicts Pavarotti as a monstrous child, albeit one with exceptional talent. In fairness, Breslin does repeatedly call Pavarotti "generous"--he bought Breslin a Saab, he sent money Terry McEwan because he wasn't doing well, he was incredibly supportive of Jose Carreras when the other tenor was battling cancer. But the balance of the book is about the (almost always) unreasonable demands that Pavarotti placed on others, and the selfish way he perceived and interpreted everything around him. When talking about the tenor's stage performances, he emphasizes Pavarotti's complete disregard for stage direction or the performance of others (once walking off stage during the soprano's part in a love duet because he wanted some water). Pavarotti's hypocrisy is also on display; he told a fit woman that she needed to go on a diet and criticized his former girlfriend for forgetting lyrics when he was notorious for not learning them.
Even if this memoir is not a product of "bitterness," it is clearly a product of long-simmering frustration, and, apparently, resentment.
For a guy who goes on and on about how he never forgets it's a business, Breslin doesn't do a great job of explaining how the business worked, who did what, the economics of the whole thing, and how things changed over time. For example, Breslin boasts about his successful publicity career (The Ed Sullivan Show, etc.), and how he was better at it than other publicists. But he also gives the impression that he was, throughout his career, the best. But the opera business was very different in the 90s and early 2000s than it was in the 1960s. How did Breslin adjust? What connections did he form?
This memoir is about his relationship with Pavarotti, so of course that gets center stage. At various moments, however, Breslin reminds us that he managed and publicized other artists, including some of the most acclaimed of the last 30 years (Renee Fleming, Natalie Dessay), but there's nothing in the book about how he balanced the (what sounds like) all-consuming work of managing Pavarotti and his demands with his responsibilities to other clients. Apparently, his other clients sometimes complained that he gave all his attention to Pavarotti. Breslin's response is, basically, "yes, he's the guy who makes me the money." Okay, so then how did he keep other clients? According to him, he was still working at age 78, when he and Pavarotti ended their professional relationship, so, somehow, he did enough for others. But there's nothing to explain how.
At the end of the book, Breslin insists that he's not bitter. But the majority of the book depicts Pavarotti as a monstrous child, albeit one with exceptional talent. In fairness, Breslin does repeatedly call Pavarotti "generous"--he bought Breslin a Saab, he sent money Terry McEwan because he wasn't doing well, he was incredibly supportive of Jose Carreras when the other tenor was battling cancer. But the balance of the book is about the (almost always) unreasonable demands that Pavarotti placed on others, and the selfish way he perceived and interpreted everything around him. When talking about the tenor's stage performances, he emphasizes Pavarotti's complete disregard for stage direction or the performance of others (once walking off stage during the soprano's part in a love duet because he wanted some water). Pavarotti's hypocrisy is also on display; he told a fit woman that she needed to go on a diet and criticized his former girlfriend for forgetting lyrics when he was notorious for not learning them.
Even if this memoir is not a product of "bitterness," it is clearly a product of long-simmering frustration, and, apparently, resentment.
July 28, 2020
Informed and pleasantly waspish, with gossipy one-line put-downs of many in the opera business.
The text, which often reads as if set down on dictaphone for 'co-author' Anne Midgette, is a lightweight but interesting account of the fat man's foibles, the business of an operatic agent and something about the quality of his performances.
It was well known that Pavarotti did not have the insights of his rival Domingo, and had difficulty learning new parts, but Breslin's bland statement that he could not read music surely invites some scepticism.
Others may turn elsewhere for deeper musical analysis - but this compilation of anecdotes will serve those seeking an easy, entertaining read - entertaining that is until the final pages that chronicle a rather sad decline.
If Breslin is to be believed.
The text, which often reads as if set down on dictaphone for 'co-author' Anne Midgette, is a lightweight but interesting account of the fat man's foibles, the business of an operatic agent and something about the quality of his performances.
It was well known that Pavarotti did not have the insights of his rival Domingo, and had difficulty learning new parts, but Breslin's bland statement that he could not read music surely invites some scepticism.
Others may turn elsewhere for deeper musical analysis - but this compilation of anecdotes will serve those seeking an easy, entertaining read - entertaining that is until the final pages that chronicle a rather sad decline.
If Breslin is to be believed.
December 27, 2023
Audiobook. Interesting read about Pavarotti’s career told from the possibly biased view of his manager, though I don’t think he told the story to trash him. Learned some things one might not have expected from an opera singer of that stature. I read it after randomly stumbling on a television documentary about the singer. Two very different takes on his life.
Three star rating is not for the quality of the book or writing, both of which were well done. Just for whether I loved the book or not.
Three star rating is not for the quality of the book or writing, both of which were well done. Just for whether I loved the book or not.
September 10, 2024
A rollercoaster for sure. I started out thinking wow what a fantastic piece of writing. By the time I got to the end, I was straight up ticked off at breslin. A self serving piece of writing filled with self magnifying hot air. Having a dear acquaintance who is mentioned by name several times throughout, it is remarkable to note the number of ways the truth is twisted throughout this book. Despite this, still an engaging listen throughout. The narrator does an excellent job
December 5, 2019
Meh
When a petty person writes a book about a talented person it becomes more about the petty person than the talented one. Pavarotti was a once in a lifetime operatic icon and Breslin was his functionary. Enough said.
When a petty person writes a book about a talented person it becomes more about the petty person than the talented one. Pavarotti was a once in a lifetime operatic icon and Breslin was his functionary. Enough said.
September 17, 2021
Probably the closest to the truth out there although a bit unfair at times. Disappointment and hurt on both sides.
June 23, 2023
It was an interesting read. However, I was annoyed and at times, appalled by Breslin’s whining, ego and sexism. Not sure if I would recommend it, per se.
March 1, 2025
Candid, revealing, worth reading.
March 29, 2008
I put this book down having such a conflicted view of this seemingly "sunny" man and artist. All I could think was that he was a lazy, selfish, man-child trapped in an adult's body, life and career.
Well, that's how his ex-manager sees/saw him. And, yes, thankfully the brutally honest is weighed with some positive perspective as well.
After reading most artists' bios, I usually aim to submerge myself in their work (ie: recordings.) After finishing this book, I almost thought I'd take a break from doing so with Pav's.
I have always loved his early recordings, and will continue to. An artist's work is surely the strongest case for their worth and place in history, especialy when all the stories are forgotten.
The reality is I probably expect the greats to be great in all realms. Well, he was flawed, as any human, and when under such scrutiny and the pressure of a career so demanding as opera, I doubt many would come out looking like roses when the "real" or even more severe than real story is told.
The sensationalized manner in which it is written, frankly makes it an easy and engaging read... perhaps if only for the opera lover.
The felt a sense of sadness in seeing the complexity and manipulation in his life, choices and relationships. In the end, his flaws and thorns will no doubt have me loving him more.
Well, that's how his ex-manager sees/saw him. And, yes, thankfully the brutally honest is weighed with some positive perspective as well.
After reading most artists' bios, I usually aim to submerge myself in their work (ie: recordings.) After finishing this book, I almost thought I'd take a break from doing so with Pav's.
I have always loved his early recordings, and will continue to. An artist's work is surely the strongest case for their worth and place in history, especialy when all the stories are forgotten.
The reality is I probably expect the greats to be great in all realms. Well, he was flawed, as any human, and when under such scrutiny and the pressure of a career so demanding as opera, I doubt many would come out looking like roses when the "real" or even more severe than real story is told.
The sensationalized manner in which it is written, frankly makes it an easy and engaging read... perhaps if only for the opera lover.
The felt a sense of sadness in seeing the complexity and manipulation in his life, choices and relationships. In the end, his flaws and thorns will no doubt have me loving him more.
October 15, 2008
An interesting review of a decadent life; but oh could he sing. I did enjoy the history of Luciano and operatic times.
Was glad to hear that he was not single-handedly responsible for stopping the Met's touring schedule. But on the other hand both he and Breslin certainly were largely responsible for the increasing commercialization that stopped the Met from ever doing operas outside of New York City as the stars could make more money touring on their own.
Was glad to hear that he was not single-handedly responsible for stopping the Met's touring schedule. But on the other hand both he and Breslin certainly were largely responsible for the increasing commercialization that stopped the Met from ever doing operas outside of New York City as the stars could make more money touring on their own.
June 11, 2008
True to its title, this insider tale doesn't always paint the most flattering picture of the late, and truly great, Pavarotti. But Breslin always has respect for the divo's talent. As do I, who would be lost without his inimitably beautiful voice in the absolutely irreplaceable Karajan Boheme and Mehta Turandot.
March 28, 2010
Fascinating, if you are into opera at all. I know many of the names because of my singing sister, and it in interesting that the author worked with so many great singers over the years. Pavarotti was certainly one in a billion as far as a voice is concerned, but his three ring circus life was a bit sad. It reminded me a bit of the life Elvis Presley led, which unraveled as his career ended.
August 22, 2011
I've had this awhile in hard copy. Quick read so far.
August 6, 2011
A fascinating look at the career of Luciano Pavarotti from his shadow, famed long time manager Herbert Breslin.
April 11, 2013
Gave up reading; too boring;
July 13, 2014
Great read
It seems like a very honest book with many insites into the world of Pavarotti. Knowing one of the players in the book made it even more interesting.
It seems like a very honest book with many insites into the world of Pavarotti. Knowing one of the players in the book made it even more interesting.
September 10, 2021
Great book for a opera lover like myself. Well written and with amazing stories about Luciano- like like like
January 24, 2019
A remarkable view into the life of one of the most talented, mellifluous voices in history.
Displaying 1 - 23 of 23 reviews