pavarotti · he had one of the most epic voices and expressive hearts in human history, but in ron...
TRANSCRIPT
Presents
PAVAROTTI
A film by Ron Howard
(104 mins, United Kingdom/United States, 2019)
Language: English
Distribution
Mongrel Media Inc
1352 Dundas St. West
Toronto, Ontario, Canada, M6J 1Y2
Tel: 416-516-9775 Fax: 416-516-0651
E-mail: [email protected]
www.mongrelmedia.com
Publicity
Bonne Smith
Star PR
Tel: 416-488-4436
Twitter: @starpr2
E-mail: [email protected]
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SYNOPSIS
The award-winning filmmaking team behind the hit documentary The Beatles: Eight
Days a Week – The Touring Years turns to another musical phenomenon with PAVAROTTI, an
in-depth, no holds barred look at the life, career and lasting legacy of the musical icon. Dubbed
"The People's Tenor," Pavarotti was the rare combination of personality, genius and celebrity
and he used his prodigious gifts to spread the gospel of opera as entertainment – and something
to be enjoyed by all music lovers. Through the sheer force of his talent, Pavarotti commanded the
great stages of the world, and captured the hearts of audiences everywhere. Featuring rare
interviews with his family and colleagues, never-before-seen footage, and state of the art Dolby
Atmos sound, this look at a remarkable man and musical giant is directed by Academy Award
winner Ron Howard.
CBS Films, Polygram Entertainment and Brian Grazer present an Imagine Entertainment,
White Horse Pictures production of a Ron Howard film, PAVAROTTI. Directed by Ron
Howard, it is produced by Nigel Sinclair, Brian Grazer, Ron Howard, Michael Rosenberg and
Jeanne Elfant Festa. The editor is Paul Crowder A.C.E. The film was written by Mark Monroe.
Executive Producers are David Blackman, Dickon Stainer, Guy East, Nicholas Ferrall, Paul
Crowder and Mark Monroe. Co-Executive Producer is Cassidy Hartmann. Supervising Producer
is Mark McCune. Sound Re-Recording Mixers are Chris Jenkins and Sal Ojeda.
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ABOUT THE PRODUCTION
“Some can sing opera. Luciano Pavarotti was an opera.”
~Bono
He had one of the most epic voices and expressive hearts in human history, but in Ron Howard’s
documentary, the remarkable Luciano Pavarotti is seen as he’s never been seen before: in a ravishingly
intimate close-up that delves behind the glory of his music and the heat of his charisma to uncover his
private human struggles, humor and hopes. Echoing the universal themes that have kept opera relevant in
the 21st Century—love, passion, joy, family, loss, risk, beauty—the film weaves a story of a man
discovering, wrestling with and ultimately learning to harness the monumental enormity of his gifts.
The golden-hued voice of Pavarotti speaks for itself. But Howard sets out here to uncover the
man, finding an unceasingly fascinating human being formed from contrasts—mixing child-like lightness
with a deep soul, a strong loyalty to his peasant upbringing and that enigmatic X-factor that drives some
to the skirt the edges of human possibility.
Pavarotti is the third in a series of documentaries Howard has directed exploring musical
superstars—following on the heels of the award-winning The Beatles: Eight Days a Week – The Touring
Years, and Made In America, which journeyed backstage to Jay-Z’s one-of-a-kind music festival. The
modern world’s greatest opera star might seem a less likely subject for the Oscar-winning director.
Sure, Howard had met Pavarotti briefly long ago and was captivated. Who wouldn’t be drawn to a
creative powerhouse who etched out his own unique place as the rock star of opera singers, a giant who
bridged high art and pop culture as if such borders were illusory? But Howard was hardly an expert on
opera.
Yet, that is precisely why Howard became so intrigued. When Nigel Sinclair, with whom
Howard worked on The Beatles: Eight Days a Week and Rush in the past, mentioned to him that Decca
Records was in search of a filmmaker who could bring the essence of Pavarotti’s life and music to the
fore in a comprehensive documentary, Howard felt that spur to know more. Diving into research, he
discovered it was an absolute thrill to enter Pavarotti’s world fresh, with the eyes of a newcomer to opera,
the very type of person Pavarotti so loved to reach.
Intrigue soon turned to inspiration, as Howard also found a story he couldn’t resist: the tale of a
small-town man sent on a meteoric trip to the heights of fame, trying to figure out how to bring all his
roiling emotions, nerves, dreams and love for others along for the ride. The precise source of his magical
voice might always be a mystery, but what caught Howard’s attention was how Pavarotti learned to use it.
“The more I learned, the more I came to see Pavarotti as someone who is a testament to the power
of living your life with passion and unabashed commitment to what you love,” says Howard. “At first, I
was engrossed just by the shape of his journey, this remarkable, nothing-but-high watermarks career, the
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vast success. But when I looked deeper, I also saw that he bore the brunt of taking so many artistic risks.
That drama was unexpected and felt extremely human.”
To give the film that humanity and life he wanted it to have, Howard brought aboard the same
filmmaking team he’d worked with on Eight Days a Week, which was acclaimed for its exuberant
immersion into the early days of the Beatles. This included not only producers Sinclair and Brian Grazer,
who were joined by Imagine’s Michael Rosenberg and White Horse Pictures’ Jeanne Elfant Festa, but
also writer Mark Monroe, editor Paul Crowder and sound mixer Chris Jenkins. Together with Howard,
they pulled together a wealth of sound and images.
As he pored through rare footage, peak performances, archival interviews and dozens of new
interviews, Howard homed in on an essential tension in Pavarotti’s being. Here was this earthy, happy-
go-lucky character who relished the good things in life with vivacious humility. But here also was a man
battling the intricacies of massive superstardom, sky-high expectations and turbulent relationships—all
underscored by Pavarotti’s growing sense of responsibility that he had to find a way to use his voice and
power for something more satisfying and more lasting than mere fame.
It was all so, well, operatic in nature that Howard hit upon the idea of structuring the entire film
as a 3-act opera. What else, after all, could Pavarotti’s life be? That concept shaped everything. Now,
Howard could see the film as a drama punctuated by passionate arias and highlighting the contrasts of
larger-than-life spectacle with raw, everyday humanity.
“I saw the film as an opportunity to explore Pavarotti’s life through never-before-seen footage
and intimate interviews with the man himself, as well as his closest family and friends,” says Howard.
“But I also came to learn that one of Pavarotti’s most ambitious goals was to broaden the reach of his art
so that more would fall in love with opera. Time after time he would go out of his way, whether it was
through teaching or traveling to the heartland of America or to China, to introduce people to the power of
opera. So, I also have a personal hope that our documentary might help continue that work. Luciano so
loved music. He so loved people. And he wanted to bring the beauty of music to as many people around
the world as he could.”
Everyone loved the idea of using the gorgeously lyrical Puccini aria Nessun Dorma from the
opera Turandot as a recurring emotional refrain. It’s not only one of Pavarotti’s most celebrated pieces
but one of the best-loved classical crossover hits of our times. “Nessun Dorma is so powerful on its own,
but we tried to use it, and other favorite Pavarotti arias, in surprising ways to intersect with the themes of
Luciano’s life,” says Howard. “I hope it highlights that these arias are more than just beautiful songs.
They’re a form of expression that can hit you on a whole other level of emotional connection.”
Howard may have recently turned to documentaries, but he is no stranger to true stories. In a
series of acclaimed dramatic films based on real lives—including the Best Picture-winning A Beautiful
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Mind, Apollo 13 and Rush, respectively about a genius mathematician, a heroic astronaut and two rival
Formula One drivers—Howard has used universal emotions as a means to allow the inner worlds of
exceptional people to feel as accessible as they are motivating.
Here, he took a similar approach, following a familiar process of giving himself over to the
research. He was bolstered by the support of Pavarotti’s estate, which gave him unfettered access.
“My approach has always been that I’m not really an authority on any of these subjects. I’m
someone in the act of discovery and I just try to share with audiences what I’m learning,” Howard
explains. “I love characters and I’m fascinated by the way high achievers in particular are tested and
challenged. With Pavarotti my question was: where did this tremendous artistry come from? It doesn’t
only come from the remarkable voice. It has to come from the heart. That’s the only way you can create
performances so true that they resonate forever. So, I wanted to know everything I could about how
Pavarotti cultivated that and how he dealt with the personal costs of becoming a celebrated artist.”
As he watched reams and reams of Pavarotti’s most electrifying concerts, Howard was taken
aback by just how emotionally deep Pavarotti went—depths he had only witnessed before with great
actors. “I was just blown away by what you can see going on behind Pavarotti’s eyes when he is
performing,” Howard says. “He is like a Method actor who is drawing profound emotions from some
personal pain that he connects with. It doesn’t matter who you are, the purity of that just moves you.”
Going beyond performances, Howard and his team combed the archives for dozens of interviews
Pavarotti did for television talk shows and news magazines looking for highlights. Then, he and his team
conducted a comprehensive 53 new interviews in New York, Los Angeles, Montreal, London, Modena
and Verona from April 2017 to June 2018. This series of conversations brought in the perspectives not
only of wives, family members, students and fellow performers from both opera and rock, but also the
managers, promoters and marketeers who helped to etch the unusual trajectory of his career and take
opera to places it had never gone before.
Each one was a revelation, opening up new avenues into Pavarotti’s most hidden doubts, trials
and desire to reconcile his outsized ambitions with ordinary love and life.
“I found the family’s interviews especially remarkable,” says Howard. “They’re emotional
interviews that were not easy for them to do, but I am grateful because I think they convey so much of the
humanity of his story. That’s what makes this something more than just a look at what a great performer
he was. They tell the story of a vast journey of highs and lows that they all undertook together.”
Then came the most astonishing discoveries of the film: highly personal footage of Pavarotti that
had never seen the light of day before. This footage from home movies preserved by family and friends at
times took the filmmakers’ breath away with its unvarnished glimpses at the man behind the curtain.
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The movie opens with one of the most astounding, dream-like clips of all. The year is 1995 and
the place is Manaus, Brazil, in the thick of the Amazon jungle. Here, in the mysteriously magnificent
little opera house known as Teatro Amazonas, where Caruso himself once sang, Pavarotti is seen in his
sweatpants, pouring forth with total abandon before a mere handful of passers-by. Shot by flautist Andrea
Griminelli, who was travelling with Pavarotti at the time, the clip has never before been shared publicly.
“It is my favorite because it's the only time you see Pavarotti singing for himself,” says producer
Jeanne Elfant Festa of White Horse Pictures. “You see him trying to capture what his idol Caruso must
have felt singing there. It took a long time to acquire this unseen footage, but it was worth it. It is
moving, revealing and very beautiful.”
Much of the rare footage came directly from the personal collection of Nicoletta Mantovani,
Pavarotti’s wife at his death, the mother of their daughter Alice and head of the Pavarotti Museum in
Modena. Mantovani offered her generous help to the production right from the beginning.
“I felt it was important to tell his story to the world because Luciano was one of the best artists
ever, but he also had a great heart. I thought it was important to share that,” says Mantovani.
“Nicoletta sort of became her husband’s videographer,” notes Howard, “and it just so happened
that this was the era when good video cameras were becoming available. She interviewed him from time
to time and it’s very fortunate, because Nicoletta captured him in a period when he had so much wisdom
and perspective to share. And of course, he was open to talking with her in ways he would never talk to
the host of a morning show. This footage was incredibly important to the film, because that’s where you
really get to see his playful side, what a charmer and goof he could be. Everybody who knew Luciano
wanted me to understand was that he was just this unpretentious guy who happened to be a great artist. He
thought of himself as a peasant who had worked his way up to giving all that was in his soul and all that
had been built into his character by life. I think the home movies really help reflect that.”
Mantovani proved key in other ways. “Nicoletta is a wonderful person who helped us to get
interviews with such very busy stars as Plácido Domingo and José Carreras,” says producer Nigel
Sinclair. “She gave us access to all of the archives that they have at the Pavarotti Museum. And she also
introduced us to his first family: his first wife Adua Veroni and their three daughters, Cristina, Lorenza
and Giuliana Pavarotti, all of whom were interviewed for the first time ever, which was a very intense and
moving experience. His daughters were all moved to tears at times during the interviews, reliving the
journey they took with their father. Having a famous father is not easy for anybody, whether they're a pop
star, movie star or opera singer, and you get to see that.”
Throughout the process, Howard collaborated with writer Mark Monroe, who previously wrote
the Oscar-winning documentaries The Cove and Icarus and garnered an Emmy Award nomination for
The Beatles: Eight Days a Week – The Touring Years. Like Howard, Monroe became intrigued by the
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stirringly operatic quality of Pavarotti’s character—this man who strived to tap the most tender emotions,
but also lived in an outsized, often exposed way in a complicated and demanding world.
“I think what make Pavarotti’s voice so timeless and enduring is that it symbolizes all of our
human frailties and vulnerabilities,” Monroe observes. “I hope through this film audiences will see him
for who he was in his entirety, a beautiful man who had faults but also tremendous gifts and generosity.”
For the producers, the story’s structure worked in mysterious ways. “At times, you find you're
crying your eyes out, because you feel you’re on the ride of this man’s whole life,” says Sinclair. “I think
that kind of emotion comes through because Ron is so fascinated by the human process, by how people
relate to each other and how they're affected by their circumstances. His greatest stories have all been
driven by those things. He was fully determined to understand what made Pavarotti tick—and he wove
everything he discovered into the film.”
Festa notes that the film reminds of how Pavarotti refused to see any boundaries between so-
called high and low artforms, presaging the more open and mobile cultural world of today. “I think today
Pavarotti can be perceived in some ways as an awesome rock star because he was always a disruptor,” she
says. “His effect on people was intense and personal and I love that Ron’s film mirrors that.”
Howard hopes that the film rides a fine line: authentic enough for Pavarotti aficionados to cherish
and welcoming enough for those who are new to the man and his music. He emphasizes that for
Pavarotti, music was something that should never feel exclusive or elitist. To him, opera was the music
of the people, of all people—because it is rife with all the beauty and messiness of everyday life.
“Pavarotti grew up in a culture where opera was popular entertainment and it spoke to everyone,”
explains Howard. “He always wanted to return opera to those roots in the modern world. His humility is
one of the most beautiful and paradoxical things about Luciano. He was extremely proud of his
achievements and he understood he had this incredible power, but it was accompanied by a sense of being
humbled by the music and the opportunity it gave him to reach people from every walk of life.”
SOUND AND RHYTHM
As Pavarotti began to take form, Ron Howard worked especially closely with editor Paul
Crowder to craft the film’s rhythm into a crescendo.
“Pavarotti's real life already had an organic three-act arc to it,” observes Crowder. “The first act
of his life is going from a village teacher in Modena to becoming an unexpected success in the opera; the
second act is the Three Tenors era of his life when he experienced both incredible fame and self-doubts;
and the final act is the Pavarotti and Friends period, where he was raising money for children’s charity
and expanding out into collaborations with artists of all kinds, bringing opera to new places and people,
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fulfilling his dream. So that was all there, and our work was about shaping it—and about fusing the story
with Pavarotti’s music to enhance the emotional moments of the story.”
Nigel Sinclair notes that Crowder has a way of infusing material from dusty archives with
immediate, crackling life. “He can take photographs and make you feel that they are moving scenes,”
Sinclair says. “And he cut the story to Pavarotti’s arias like he was painting with music.”
Also key to the team was three-time Academy Award-winning sound mixer Chris Jenkins (Mad
Max: Fury Road, The Last of the Mohicans, Out of Africa), who married the multi-dimensional sound
technology of Dolby Atmos to Pavarotti’s vocal brilliance in the legendary Abbey Road studios. Jenkins
wanted to find a new way to capture the live power of the human voice—to bring all the sensuousness,
verve and emotional poignancy you can feel when someone sings in a room into the movie theatre.
“The human voice is the centerpiece of our movie. It is the greatest tool musically there is.
Nothing crosses all disciplines in music and all touchpoints with human emotion like the human voice,”
says Jenkins. “And Pavarotti's voice is the most exquisite of instruments. That’s why rather than be
sequestered into opera, I think his voice transcends categories. His voice is about those universal
emotions we seek in all great painting, music, food, love and compassion.”
For Howard, the mix was vital to inviting audiences into the experience no matter their
background with opera. Though opera lovers prize nothing more than the natural, unamplified sound of a
voice reverberating in a theatre, this was a chance to show what leading-edge recording technology can
do to re-create that singular pleasure. “I hope opera fans and newcomers alike will have an experience
that is thrilling, memorable and unique,” Howard says. “I hope people will be blown away by the sound
in this film, with what this technology can do to you, how it can reach you at your emotional center. With
Chris at the mixing board, we were able to make that happen.”
Using Dolby’s Atmos technology, Jenkins explains, allowed the soundtrack to capture Pavarotti’s
voice in an array of different environments. “Sometimes we wanted the audience to feel like they’re
alone in a small rehearsal hall with Luciano. And with this technology, we can make it feel as if you are
in 12-by-12 box room,” he elucidates. “Other times, we’re in the Amazon or at the concert hall or with
The Three Tenors at an outdoor coliseum. With Dolby Atmos, we were able to constantly change the
scope and scale of the sound to reflect each setting.”
Jenkins used another recording technique—re-amping the orchestra—to make the sound as alive
as possible. He explains: “We took Luciano's vocal tracks and the orchestral tracks, then laid them into
Studio One at Abbey Road and re-recorded them with 12 mics placed around the room to simulate what
the sound field is actually like in a movie theater. In this way, the music sounds very, very close to the
original recordings, yet creates a space you would normally never be able to create.”
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Throughout, there was a deep commitment to staying true to vintage recordings and footage.
“You want to retain the graininess of some images and sounds, because we respond to that as being
authentic to the period,” Jenkins says. “We never wanted to make things sound modern for the sake of
being modern. We wanted them to still feel out of the past. But when you have a simple mono recording
followed by Zubin Mehta conducting an 80-piece orchestra, you have to play somewhat with the
dynamics so that it all fits, That was the biggest challenge: scaling the soundtrack from small to intimate
to larger to grand—while trying to keep the emotional journey at the forefront.”
As he worked with Howard, Jenkins admits they felt a link to Pavarotti’s spirit that fueled them.
“If Pavarotti were alive today, and could see the film, I hope he would say we respected his voice, that we
both preserved it exactly as it was and that we lovingly honored it,” he concludes.
THE VOICE
What was it about Pavarotti’s voice that touched so many? Certainly, he had an astonishing
reach. Early in his career, Pavarotti stunned operagoers by exquisitely, and seemingly easily, hitting all
nine high Cs in Donizetti’s La Fille Du Regiment. Most tenors transpose the note to a more mortal yet
still highly challenging B-flat, but not Pavarotti. With that string of Cs, he made opera history and was
thereafter dubbed “The King of High Cs.” But there was more to it than technical facility, more to it than
even that crystalline “ping” and honeyed sweetness in his voice that critics hailed. There was also in his
demeanor and tone something ineffable that elevated the spirit, a kind of inner vitality, a generosity and
warmth that baked into the skin of the listener like the sun. To this day, people struggle to define it.
“There wasn’t anybody with that purity of voice. It was an effortless sound,” says Dickon Stainer,
CEO of Universal Music Classics and Jazz and an executive producer on the film. “You can identify his
signature sound in a split second. It has to do with the nature of his phrasing and the beauty in his voice.
He didn’t compromise. He looked after every single phrase, every note. It was inside him, and it came
out as one beautiful, elongated expression for everybody, always.”
As President of Classical Music Group at Decca Records, the label that long championed
Pavarotti, Stainer became another major asset for the film. Ron Howard notes that Decca’s assistance
was crucial. “Without Decca’s support, Pavarotti doesn’t become Pavarotti, so they are a big part of the
story,” the director says. “And their support and archives were invaluable.”
Pavarotti began recording for Decca in 1964 and in a period of six creatively fertile years, he
recorded some11 operas (and the Verdi Requiem), which remain mainstays of his legacy. Later, Decca
would become the home of the unexpected hottest supergroup of the 90s: the Three Tenors, the iconic
trio formed by Pavarotti with fellow opera stars Plácido Domingo and José Carreras. In one of the
greatest mergers of opera with popular culture, the trio opened the 1990 World Cup in Rome. The
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unprecedented performance—in which each tenor seemed to spur the others to new heights, culminating
in a breathtaking Nessun Dorma—proved to be a game changer. Suddenly, even sports fans were
humming opera and the Three Tenors became arena idols on par with Springsteen or The Rolling Stones.
Notes Stainer: “For me personally, the footage of the Three Tenors and the phenomenon that was
the Three Tenors is extra special. Perhaps now, people don’t realize how big the Three Tenors were.
They were the biggest ‘band’ in the world. They came from nowhere, they were utterly authentic, and
they had never sung in that way as a unit prior. They came together on that one night in Rome and it was
something the world had never seen before and will never see again. It changed an industry.”
For Stainer, it’s not just the pristine clarity of Pavarotti’s voice that will live on—it’s who he
became while exploring the full range of his talent. “He was a baker’s son who became the most famous
person in the world. But he was also a charitable person who gave of himself to everyone,” Stainer says.
“He had an ability to do something many others were not able to do with their voices—to transcend their
genre. He had that magical ability to create a universal experience for people across the world.”
THE MAN
Luciano Pavarotti was born in Modena, Italy on October 12, 1935, on the eve of WWII, the son
of father who was a baker and amateur tenor. Mesmerized by his father’s voice and that of his idol,
Enrico Caruso, he sang throughout his childhood. But no one could foresee that he would transform his
modest beginnings as an elementary school teacher into “The King of High C’s” on stages across the
globe—or that one day, people who had never listened to a note of opera, would know and love Pavarotti.
Encouraged by his mother, who heard something unusual in her son’s timbre, Pavarotti only
began to seriously study music after winning a regional singing competition. He made his stage debut as
Rodolfo in Puccini’s La Boheme in 1961, impressing early on with his intuitiveness and natural ease.
Throughout the 60s, Pavarotti slowly, carefully built his reputation not only for an increasingly
impeccable tone and committed performances, but for the boundless joy and zeal for life that came
through in both his singing and persona. He became known by concert-goers around the world for his
star-making partnership with the beloved soprano Joan Sutherland, aka “La Stupenda,” as their affection
for one another imbued their performances with intense energy and romance.
In the 1970s, Pavarotti found himself at the acme of his vocal powers and showmanship,
transforming into a major international superstar and media darling. At a time when opera itself seemed
to be declining in influence, he continued to rapidly rise, giving epic performances on world stages while
charming late-night talk shows with his down-to-earth sense of humor, beaming smile and cooking skills.
One night in 1973, when his life-long pre-show nerves brought on a bout of sweating, he carried a huge
white handkerchief on stage, soon to be an instantly recognized, signature trademark. By the 80s, he was
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the highest paid singer in the history of opera. As he entered the 90s, Pavarotti’s collaborations with the
Three Tenors would fill arenas and result in the bestselling album in classical music history.
One of the greatest paradoxes of Pavarotti was that even as he sold over 100 million records in his
lifetime, each member of the audience believed he was singing to them and to their experience alone.
Indeed, “The People’s Tenor” was increasingly drawn to everyday folks as much as his voice was
prized in rarified circles. That’s why he dedicated the latter part of his life to bringing opera to
contemporary audiences, even pop audiences, in ways they never imagined. From 1992 to 2003, he
would host Pavarotti and Friends in his hometown—annual benefit concerts with some of the biggest
names across the spectrum of entertainment, including pop and rock. His collaborators ran from Sting,
Queen and Elton John to James Brown, Lou Reed, Bob Geldof, Bryan Adams, Andrea Bocelli, Meat
Loaf, Michael Bolton, Sheryl Crow, Liza Minnelli, Eric Clapton, Celine Dion, Stevie Wonder, the Spice
Girls, Natalie Cole, B.B. King, Enrique Iglesias, Deep Purple and Tom Jones. Even the Dalai Lama and
actors Michael Douglas and Catherine Zeta-Jones made appearances. Meanwhile, the proceeds were
donated to humanitarian causes such as the United Nations High Commissioner for Refugees and War
Child, the British international relief agency for aid to children in war torn countries and conflict zones.
Generous and egalitarian as he was, Pavarotti was as complicated and contradictory as any
human. He had his share of scandals, marital troubles and prima donna moments, and some critics and
opera lovers were disappointed by what they saw as his compromising the delicacy of his art to the
demands of popularity. A number of classical purists could never accept his bringing opera to massive,
sound-distorting sports stadiums. But no matter what was said, nothing seemed to ever change his joyful
thirst for life or for sharing himself in the best way he felt that he could.
“Pavarotti was a great guy, a loveable guy, but he was also nobody’s fool and had a lot of power,
and I think both sides come through in this film,” says Howard. “Some of the most fun scenes in the film
are actually watching him navigate the levers of power. It’s pretty hilarious just to see the way he
charmed, cajoled, bulldozed and managed to ultimately carve out new paths for himself, again and again.”
He could take sly enjoyment from using his prominence to his advantage. But there remained in
Pavarotti a desire to keep at least a part of himself unaffected by the grandiose trappings of fame, to stay
true to that provincial Italian boy who found simple solace in song. “What was really surprising was to
see how he always tried to take his village everywhere he went,” says Nicholas Ferrall, an executive
producer of Pavarotti and president of White Horse Pictures. “He would bring pasta and cheese to China.
He would travel with pots and pans to make home-cooked meals. He clearly had a desire to live a simple
life even when he was on the road, even when things were at their most grand and chaotic.”
“He was always the small-town son of the baker and he stayed true to that his entire life,” adds
Cassidy Hartmann, the film’s consulting writer and a partner at White Horse Pictures. “That’s why
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people connected with him so deeply—because he was so authentic. I hope audiences will walk away
emboldened to be true to who they are, after watching him find such great success on that path.”
THE PHILANTHROPIST
Like any person who achieves the most surreal heights of global fame, Pavarotti struggled with it
at times. But he also came to see his fame as a tool to etch out something larger than himself. One of the
most captivating moments in the film centers around footage of Pavarotti meeting Princess Diana in 1991.
It proved to be a watershed. Not only did they become fast friends, it also seems evident he saw in her a
model for how celebrity could propel good works for the world.
“Luciano’s relationship with Princess Diana was pivotal and as we began to explore the footage
you could just see it. He was enamored with her, but it wasn’t lust. It was a mutual admiration,” observes
Howard. “I think she taught him in a way that there could be a tremendous sense of satisfaction from not
just supporting causes but really working hard at it and devoting yourself to it. He carried that with him
the rest of his life.”
That impetus to do more led to the Pavarotti and Friends benefit concert series in 1992. It is also
what led Pavarotti to befriend another icon turned global philanthropist: Bono of U2.
It all started when Pavarotti began planning a concert for the children of Bosnia at the height of
the Bosnian War. The effects of war and terror on innocent youngsters, something he witnessed firsthand
when he was a child in a WWII Europe, had long been one of his most passionate causes. He was
determined to bring together as many people who could make a difference as he could recruit. Explains
his wife Nicoletta Mantovani, “He wanted to give the Bosnian children hope for the future because
Luciano was one of those children.”
In the film, Bono tells of how Pavarotti started calling his home in Dublin, cajoling his
housekeeper and pressing him relentlessly to write a song for the concert. “Luciano is one of the great
emotional arm wrestlers…and so, we ended up in Modena of course,” Bono recalls with amusement in
the film, while spinning the intriguing tale of how Pavarotti ultimately succeeded.
The resulting meeting would seal another friendship that lasted the rest of Pavarotti’s life. It also
resulted in Bono writing the haunting “Miss Sarajevo,” which features a Pavarotti guest vocal.
“Bono loved Pavarotti so much and that is so clear in the interview he gave us,” says Howard.
“Bono’s interview was both a gift to the memory of Luciano and to our film because he has so much
insight into that X factor of how Luciano was able to bring the whole experience of his life to his music
and also into his devotion to humanitarian causes, which they shared.”
Pavarotti and Friends was so successful that the benefits continued to thrive for a decade—raising
millions not only for Bosnians but for victims in such war zones as Guatemala, Kosovo, Beirut and Iraq.
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In 1998, Pavarotti was appointed a UN Messenger of Peace and in 2001, he was awarded the Nansen
Award from the UN High Commissioner for Refugee for his unmatched fundraising and volunteer efforts.
“Many artists put their name on a charity or do some philanthropic work, but the concerted way
Luciano did it, and the dedication that fueled him in the later years of his career, really set him apart,”
says Howard. “He was sometimes criticized for those concerts because he was blending pop music with
his work, but they raised so much money and had an undeniable impact.”
Just as music had, charity work became a natural extension of Pavarotti’s intense love of life.
Mantovani hopes that’s what moviegoers take away about her husband’s legacy from Howard’s film.
Though the film shows the man in both his greatness and his anxieties, in both grandiose and challenging
moments, in the midst of glorious high Cs and the depths of struggle, Mantovani loves that the most
emphatic note of all in the film is joy.
“Luciano wanted to transmit positivity to everyone,” she says. “He always showed that life
should be lived to the fullest at every minute. He was a great artist, but he believed talent was never
enough. Discipline was necessary. Devotion was necessary. He believed every concert he gave should
be better than the previous one. He believed the secret to life was to enjoy what you do, but also to
always give back. And that is what he did.”
# # # # #
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ABOUT THE FILMMAKERS
Academy Award-winning filmmaker Ron Howard (Director, Producer) is one of this
generation’s most popular directors. From the critically acclaimed dramas A Beautiful Mind and Apollo
13 to the hit comedies Parenthood and Splash, he has created some of Hollywood’s most memorable
films.
Howard directed and produced Cinderella Man starring Oscar winner Russell Crowe, with
whom he previously collaborated on A Beautiful Mind, for which Howard earned an Oscar for Best
Director and which also won awards for Best Picture, Best Screenplay and Best Supporting Actress. The
film garnered four Golden Globes as well, including the award for Best Motion Picture Drama.
Additionally, Howard won Best Director of the Year from the Directors Guild of America. Howard and
producer Brian Grazer received the first annual Awareness Award from the National Mental Health
Awareness Campaign for their work on the film.
Howard’s skill as a director has long been recognized. In 1995, he received his first Best
Director of the Year award from the DGA for Apollo 13. The true-life drama also garnered nine
Academy Award nominations, winning Oscars for Best Film Editing and Best Sound. It also received
Best Ensemble Cast and Best Supporting Actor awards from the Screen Actor’s Guild. Many of
Howard’s past films have received nods from the Academy, including the popular hits Backdraft,
Parenthood and Cocoon, the last of which took home two Oscars. Howard was honored by the Museum
of Moving Images in December 2005, and by the American Cinema Editors in February 2006. Howard
and his creative partner Brian Grazer, were honored by the Producers Guild of America with the
Milestone Award in January 2009, NYU’s Tisch School of Cinematic Arts with the Big Apple Award in
November 2009 and by the Simon Wiesenthal Center with their Humanitarian Award in May 2010. In
June 2010, Howard was honored by the Chicago Film Festival with their Gold Hugo - Career
Achievement Award. In March 2013, Howard was inducted into the Television Hall of Fame. In
December 2015, Howard was honored with a star in the Motion Pictures category, making him one of the
very few to have been recognized with two stars on the Hollywood Walk of Fame.
Howard is currently in pre-production on the film adaptation of the best-selling memoir
Hillbilly Elegy. He is also in production on his documentary Rebuilding Paradise for NatGeo. In addition
to Pavarotti, Howard directed the critically acclaimed documentary The Beatles: Eight Days a Week –
The Touring Years. The film won a Grammy for Best Music Film in February 2017 and was nominated
for five Emmy nominations, including Outstanding Documentary.
Howard recently directed the Han Solo spinoff Solo: A Star Wars Story and produced the
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second season of Mars and Genius: Picasso for NatGeo. Genius: Einstein was recognized by the
Television Academy with ten Emmy nominations – including Outstanding Miniseries and Outstanding
Directing. It was Howard’s first directing nomination for television. The second season, Genius: Picasso
garnered seven Emmy nominations, as well as multiple Golden Glove, Critic’s Choice and SAG
nominations.
In 2009, Howard produced and directed the film adaptation of Peter Morgan’s critically
acclaimed play Frost / Nixon. The film was nominated for five Academy Awards including Best
Picture, and was also nominated for The Darryl F. Zanuck Producer of the Year Award in Theatrical
Motion Pictures by the PGA. In addition, Howard directed RUSH, also written by Peter Morgan, based on
the rivalry of Formula One Race Circuit drivers James Hunt and Nikki Lauda.
Howard’s portfolio includes some of the most popular films of the past 20 years. In 1991,
Howard created the acclaimed drama Backdraft, starring Robert De Niro, Kurt Russell and William
Baldwin. He followed it with the historical epic Far and Away, starring Tom Cruise and Nicole Kidman.
Howard directed Mel Gibson, Rene Russo, Gary Sinise and Delroy Lindo in the 1996 suspense thriller
Ransom. Howard worked with Tom Hanks, Kevin Bacon, Ed Harris, Bill Paxton, Gary Sinise and
Kathleen Quinlan on Apollo 13, which was re-released recently in the IMAX format.
Howard’s other films include Inferno, In The Heart of the Sea, based on the true story that
inspired Moby Dick; Made In America, a music documentary he directed staring Jay Z for Showtime; his
adaptation of Dan Brown’s best-selling novels Inferno, Angels & Demons, and The Da Vinci Code
starring Oscar winner Tom Hanks; the blockbuster holiday favorite Dr. Seuss’ How the Grinch Stole
Christmas starring Jim Carrey; Parenthood starring Steve Martin; the fantasy epic Willow; Night Shift
starring Henry Winkler, Michael Keaton and Shelley Long; and the suspenseful western, The Missing,
staring Oscar winners Cate Blanchett and Tommy Lee Jones.
Howard has also served as an executive producer on a number of award-winning films and
television shows, such as the HBO miniseries From the Earth to the Moon, Fox’s Emmy Award winner
for Best Comedy, Arrested Development, a series which he also narrated, Netflix’s release of new
episodes of Arrested Development, NBC’s Parenthood, and NatGeo’s Breakthrough, MARS, and Genius.
Howard made his directorial debut in 1978 with the comedy Grand Theft Auto. He began his
career in film as an actor. He first appeared in The Journey and The Music Man, then as Opie on the
long-running television series The Andy Griffith Show. Howard later starred in the popular series Happy
Days and drew favorable reviews for his performances in American Graffiti and The Shootist.
Howard and long-time producing partner Brian Grazer first collaborated on the hit comedies
Night Shift and Splash. The pair co-founded Imagine Entertainment in 1986 to create independently
produced feature films.
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Nigel Sinclair (Producer) launched White Horse Pictures in 2014 with longtime business
partner, Guy East. Prior to launching White Horse, Sinclair was the CEO and Co- Chairman of Exclusive
Media, a global independent film company that financed, produced and globally distributed feature films
and documentaries. Previously with East, Sinclair launched their independent feature film and television
production company, Spitfire Pictures, in 2003, which signed a first-look development and production
deal with the British horror studio, Hammer, in 2007. Prior to starting Spitfire, Sinclair and East co-
founded Intermedia Films, in 1996, one of the world’s leading independent film producers.
Sinclair acts as lead producer on White Horse Pictures documentary projects. His documentary
credits include Ron Howard’s Grammy-winning The Beatles: Eight Days a Week – The Touring Years;
Martin Scorsese’s Emmy-winning George Harrison: Living in the Material World and Grammy-winning,
No Direction Home: Bob Dylan; the Oscar-winning Undefeated; the Grammy-winning Foo Fighters:
Back and Forth; and the Emmy- and Grammy-nominated Amazing Journey: The Story of the Who.
Together with his partners at White Horse - Nick Ferrall, Jeanne Elfant Festa and Cassidy
Hartmann – Sinclair is currently in production on the authorized feature documentary about the Bee Gees,
directed by Frank Marshall of the Kennedy/Marshall Company; an elevated genre feature film about the
legendary mysteries on the ship, Queen Mary, directed by Gary Shore; and recently completed production
on an authorized feature documentary on the life of opera great Luciano Pavarotti, directed by Ron
Howard, to be released theatrically in June 2019. In addition, the team produced The Apollo, the
authorized documentary on Harlem’s famed Apollo Theater directed by Roger Ross Williams (the Oscar-
nominated documentary film Life, Animated), which was the opening film at the 2019 Tribeca Film
Festival and will debut on HBO in the fall.
With Exclusive, Sinclair produced Parkland starring Zac Efron, Billy Bob Thornton and Paul
Giamatti; Snitch, starring Dwayne Johnson; and End of Watch, starring Jake Gyllenhaal, Michael Peña,
Anna Kendrick and America Ferrera, and executive produced Ron Howard’s RUSH.
Sinclair’s extensive other film credits include Sliding Doors, starring Gwyneth Paltrow;
Terminator 3: Rise of the Machines, starring Arnold Schwarzenegger; Alan Parker’s The Life of David
Gale, starring Kevin Spacey and Kate Winslet; The Quiet American, starring Michael Caine; and The
Wedding Planner, starring Jennifer Lopez and Matthew McConaughey.
Sinclair attended Cambridge University in the U.K. and earned a Master of Law from Columbia
University in New York. In 2000, Sinclair was awarded the Commander of the Order of the British
Empire (CBE) by Her Majesty Queen Elizabeth II of the United Kingdom in consideration of his service
to the film industry.
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Academy Award, Golden Globe, Emmy, and Grammy award-winning producer and New
York Times bestselling author Brian Grazer (Producer), has been making movies and television
programs for over 30 years. As both a writer and producer, he has been personally nominated for four
Academy Awards, and in 2002 he won the Best Picture Oscar for A Beautiful Mind. He has produced
several Emmy and Golden Globe-winning television shows including the drama series 24, which ran for 9
seasons and the comedy series Arrested Development.
Over the years, Grazer's films and TV shows have been nominated for a total of 43 Oscars
and 195 Emmys. At the same time, his movies have generated over $13.5 billion in worldwide theatrical,
music, merchandising and video grosses. Reflecting this combination of commercial and artistic
achievement, the Producers Guild of America honored Grazer with the David O. Selznick Lifetime
Achievement Award in 2001. His accomplishments have also been recognized by the Hollywood
Chamber of Commerce, which in 1998 added Grazer to the short list of producers with a star on the
Hollywood Walk of Fame. On March 6th, 2003, ShoWest celebrated Grazer’s success by honoring him
with its Lifetime Achievement Award. In May 2007, Grazer was chosen by Time Magazine as one of the
“100 Most Influential People in the World.” In January 2009, Grazer and his creative partner, Ron
Howard, were honored by the Producers Guild of America with the Milestone Award. In November 2009,
New York University’s Tisch School of the Arts honored them with the Big Apple Award, and in May
2010, they were honored by the Simon Wiesenthal Center with its Humanitarian Award. In February
2011, Grazer was the Motion Picture Sound Editors 2011 Filmmaker Award recipient. In 2012, Grazer
was awarded the Innovation and Vision award by the Alfred Mann Foundation for his charitable
humanitarian efforts. In 2013, Grazer was awarded the Abe Burrows Entertainment Award by the
Alzheimer’s Association and was awarded the Lifetime Achievement Award by PromaxBDA.
In addition to A Beautiful Mind, Grazer's films include Apollo 13, for which Grazer won the
Producers Guild's Daryl F. Zanuck Motion Picture Producer of the Year Award as well as an Oscar
nomination for Best Picture of 1995; and Splash, which he co-wrote as well as produced and for which he
received an Oscar nomination for Best Original Screenplay of 1984. Grazer also produced Peter
Morgan’s critically acclaimed play Frost / Nixon directed by Ron Howard. The film, was nominated for
five Academy Awards including Best Picture, and was also nominated for The Darryl F. Zanuck
Producer of the Year Award in Theatrical Motion Pictures by the PGA.
Grazer’s book “A Curious Mind: The Secret to a Bigger Life”, released in April 2105, was a
New York Times bestseller. For decades, Grazer scheduled “curiosity conversations” with notable experts
from scientists to spies, and adventurers to business leaders. The book offers a peek into some of these
conversations and inspires readers to unleash their own curiosity. He is currently working on his second
book “Eye Contact,” set to be released this year.
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For film, Grazer is currently working on Tick, Tick…Boom! directed by Lin-Manuel
Miranda, the film adaptation of the NY Times bestseller Hillbilly Elegy, Curious George based on the
beloved children’s character, Friday Night Lights directed by David Gordon Green, a biopic about Gucci
Mane, and the documentary Rebuilding Paradise. Grazer’s recent films includes the documentary The
Beatles: Eight Days a Week – The Touring Years. The film was a global hit – both commercially and
critically having won multiple awards including the 2017 Grammy for Best Music Film, two Emmy
awards, and the Critics Choice award for Best Documentary.
On the television side, Grazer is currently working on Wu-Tang: An American Saga with
THE RZA and Alex Tse for Hulu, Swagger with Kevin Durant for Apple, Filthy Rich with Tate Taylor
for FOX, and Why Women Kill with Marc Cherry for CBS All Access. He also produced the fifth season
of Arrested Development for Netflix and the hybrid television series Mars for NatGeo. His most recent
television series includes Empire, Shots Fired and 24:Legacy, all for Fox Television and the Genius
anthology series for NatGeo. Genius: Einstein garnered ten Emmy nominations in season one. The series’
second season, Genius: Picasso, received seven Emmy nominations, as well as multiple Golden Globe,
Critics Choice and SAG nominations and awards.
Grazer's additional television productions include, NBC’s Parenthood based on his 1989
film, and NBC’s Peabody Award winning series Friday Night Lights. Other television credits include
Fox's hit Golden Globe and Emmy award winning Best Drama Series 24, Fox’s Emmy award winning
Best Comedy Arrested Development, Fox’s 24: Redemption, Fox’s Lie To Me, staring Tim Roth, CBS’s
Shark, WB's Felicity, ABC's SportsNight, as well as HBO's From the Earth to the Moon, for which he
won the Emmy for Outstanding Mini-Series. In 2012, Grazer produced the 84th Academy Awards
hosted by Billy Crystal.
Other films include the female led spy comedy and 2018 People Choice winner for Best
Comedy Film The Spy Who Dumped Me starring Mila Kunis and Kate McKinnon; the critically
acclaimed film American Made starring Tom Cruise, Get On Up, about “Godfather of Soul” James
Brown; the Formula One drama RUSH, staring Chris Hemsworth and Daniel Brüel, directed by Ron
Howard; Made In America, a music documentary starring Jay Z for Showtime; J. Edgar, directed by
Clint Eastwood and starring Leonardo DiCaprio; Tower Heist, starring Ben Stiller and Eddie Murphy; the
drama Robin Hood, directed by Ridley Scott and starring Russell Crowe and Cate Blanchett; the
adaptation of Dan Brown’s best selling novel Angels & Demons, starring Tom Hanks, and directed by
Oscar-winner Ron Howard which opened in May 2009; the drama Changeling, directed by Clint
Eastwood and starring Angelina Jolie; the Ridley Scott directed drama American Gangster, starring
Russell Crowe and Denzel Washington; the big screen adaptation of the international bestseller The Da
Vinci Code; the tense drama The Inside Man, directed by Spike Lee and starring Denzel Washington,
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Clive Owen and Jodie Foster; Flightplan; Cinderella Man; the Sundance acclaimed documentary INSIDE
Deep Throat; Friday Night Lights; 8 Mile; Blue Crush; Intolerable Cruelty; Dr. Seuss' How the Grinch
Stole Christmas; The Nutty Professor; Liar, Liar; Ransom; My Girl; Backdraft; Kindergarten Cop;
Parenthood; Clean and Sober; and Spies Like Us.
Grazer began his career as a producer developing television projects. It was while he was
executive-producing TV pilots for Paramount Pictures in the early 1980s that Grazer first met his
longtime friend and business partner Ron Howard. Their collaboration began in 1985 with the hit
comedies Night Shift and Splash, and in 1986 the two founded Imagine Entertainment which they
continue to run as Chairmen.
Michael Rosenberg (Producer) is Co-Chairman of Imagine Entertainment, founded by Oscar
winning producer Brian Grazer and Oscar winning director Ron Howard. Imagine Entertainment’s
films have grossed over $13.5 billion in worldwide theatrical, DVD, and videogame grosses and has been
honored with more that 60 prestigious awards including 10 Academy Awards and 46 Emmy awards.
He executive produced the critically acclaimed 2017 Grammy winning Best Music Film The Beatles:
Eight Days A Week – The Touring Years and is currently executive producing the documentary Dads.
Rosenberg joined Imagine Entertainment in 1988 as Vice President of Marketing and Distribution
and guided the release of many critically acclaimed films like Parenthood, Backdraft, Apollo 13, Ransom
and The Nutty Professor. In 1998, he was promoted to President of Imagine Entertainment. He continued
to oversee the marketing, publicity and distribution of the company’s films including Best Picture Oscar
winner A Beautiful Mind, as well as 8 Mile, Friday Night Lights, Inside Man, The Da Vinci Code,
American Gangster, Frost/Nixon, J. Edgar, RUSH, and Get On Up and television programs including
NatGeo’s Genius, Mars, and Breakthrough series, Fox's breakout hit Empire, and Fox’s Golden Globe
and Emmy award winning Best Drama Series 24, Fox’s Emmy award winning Best Comedy Arrested
Development, WB's Felicity, ABC's SportsNight, as well as HBO's From the Earth to the Moon, which
won the Emmy for Outstanding Mini-Series.
In 2012, Rosenberg co-produced the 84th Annual Academy Awards show for ABC, and
produced Katy Perry: Part of Me. He has been actively involved with multiple philanthropic
organizations including The Fulfillment Fund, UCLA Medical School, USC Film School, The American
Film Institute, The Help Group, Best Buddies, and the Sloan Kettering Cancer Research.
Prior to joining Imagine, Rosenberg was President of the Saul Zaentz Production Company and
Fantasy Films in Berkeley, California. During his ten years at the company he was involved in One Flew
Over the Cuckoo’s Nest, Amadeus, and The English Patient.
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Jeanne Elfant Festa (Producer) is the Head of Documentaries & Director of Features at White
Horse Pictures and oversees the company’s documentary slate. Before joining the White Horse creative
producing team, she operated her own production company, Piper Cub Productions. With Piper Cub
Productions, she had a first look deal with Exclusive Media and joined forces there with Nigel Sinclair,
executive producing the Grammy-winning documentary Foo Fighters: Back and Forth, directed by James
Moll.
Since joining White Horse Pictures, she has served on the producing team for the Grammy &
Emmy winning, BAFTA-nominated, The Beatles: Eight Days a Week - The Touring Years, directed by
Ron Howard, and currently produced The Apollo, directed by Roger Ross Williams which debuted at the
Tribeca Film Festival, and is a Producer on Pavarotti, directed by Ron Howard.
Festa is a Producer on a feature film about Keith Moon the eccentric drummer of The Who,
and she is also producing the forthcoming authorized Bee Gees documentary directed by Frank Marshall
of Kennedy Marshall, as well as a number of other high-end documentaries and projects now on White
Horse Pictures’ slate.
She serves on the board of Step Up a nation-wide non-profit organization that propels girls
living or going to school in under-resourced communities to fulfill their potential by empowering them to
become confident, college-bound, career-focused, and ready to join the next generation of professional
women.
Mark Monroe (Written By, Executive Producer) is an award-winning documentary writer and
filmmaker, and co-founder of Diamond Docs. A journalism graduate from the University of Oklahoma,
Monroe began his career in television as a news writer for CNN. His theatrical credits include: Icarus
(Winner, Best Documentary 2017 Academy Awards & Orwell Award, Sundance. Netflix 2017); Hell
On Earth: The fall of Syria and the rise of ISIS (Tribeca 2017, National Geographic); The Beatles: Eight
Days A Week – The Touring Years (Hulu 2016); Before The Flood (Toronto 2016, National Geographic);
Under the Gun (Sundance 2016, Epix); Hooligan Sparrow (Sundance 2016); Racing Extinction
(Sundance 2015, Discovery); Fed Up (Sundance 2014); Sonic Highways (HBO 2014); Drunk, Stoned,
Brilliant, Dead: The Story of the National Lampoon (Sundance 2014, Showtime); Mission Blue (Berlin
2014, Netflix); The Summit (Winner, Best Editing Sundance 2013); Who is Dayani Cristal? (Winner,
Best Cinematography, Sundance 2013); Sound City (Sundance 2013); The Cove (Winner, Best
Documentary 2010 Academy Awards & Best Documentary Script, W.G.A. 2010); The Tillman Story;
Chasing Ice (Winner, Best Cinematography Sundance 2012); Stolen Seas; Last Play at Shea; Once in a
Lifetime: The Extraordinary Story of the New York Cosmos (W.G.A. nomination "Best Documentary
Script", 2007); Amazing Journey: The Story of The Who; and Morning Light (Disney Pictures).
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Currently, Monroe is working on an animated music series with Mike Judge.
Paul Crowder A.C.E. (Editor, Executive Producer) is a former UK musician turned movie
editor and director with a unique voice.
Crowder left London in 1989 after a 5-year period with the UK band The Adventures and moved
to LA, where he toured with Eric Burdon of The Animals for a couple of years, before becoming a
founding member of the original Flogging Molly in 1994. Crowder continued to play music but found a
job in editing during some down time where he met and worked with Stacy Peralta. After a couple of
years working on TV together, Peralta asked Crowder if he would edit his documentary about the
skateboard culture of Los Angeles in the mid 70s.
Following the critical success of Peralta’s documentary Dogtown and Z Boys (Audience Favorite
and Best Director at Sundance 2001, and Best Documentary at the 2002 Independent Spirit Awards),
Crowder edited Peralta’s Riding Giants, garnering the 2004 A.C.E. Eddie for Best Edited Documentary.
He made his directorial debut with Once in a Lifetime: The Extraordinary Story of the New York
Cosmos (written by Mark Monroe) and directed and edited the Grammy nominated Amazing Journey:
The Story of the WHO, where he first worked with Nigel Sinclair.
In 2006 Crowder, longtime collaborator and writer Mark Monroe and Producer Morgan Sackett,
formed Diamond Docs, which boasts a 35 film catalogue, two of which have won Academy Awards.
Crowder also directed and edited the acclaimed films, Last Play at Shea (2009) and 1: Life On
The Limit (2013). He then went on to edit Rock and Roll Hall of Famer Dave Grohl’s directorial debut
Sound City, and in 2016 collaborated again with Sinclair, and with Ron Howard, on the Grammy winning
The Beatles: Eight Days a Week – The Touruing Years as editor and executive producer.
In 2017, Crowder edited the Elon Musk production Do You Trust This Computer for director
Chris Paine, and in 2018 reunited with Howard and Sinclair on Pavarotti.
Crowder stills plays music, getting involved in and recording score for his films, and can also be
found at various venues around LA playing with his band of 20 years, The Automatics.
Mark McCune (Supervising Producer) served as a Production Supervisor on Grammy and
Emmy-winning film The Beatles: Eight Days a Week - The Touring Years, directed by Ron Howard, and
A Faster Horse, directed by David Gelb.
Outside of the documentary world, McCune has been a trusted producer in the music and
commercial space, producing award-winning content for a number of top ad campaigns and Grammy-
winning artists.
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McCune is a graduate of Emerson College in their VMA program and serves on Emerson’s
alumni board at the Los Angeles campus. He lives in East LA with his wife, Mariana, and their dog,
Charlie.
David Blackman (Executive Producer) is the Head of Film & Television Development and
Production at Universal Music Group (UMG), the world leader in music-based entertainment. Blackman
works within the company to develop, finance and produce music-driven feature films, documentaries
and television projects for a global audience.
Currently, Blackman oversees a wide slate of projects including the feature documentaries
Pavarotti, Todd Haynes’ Velvet Underground, Frank Marshall’s Bee Gees and two films for Showtime:
Hitsville, The Motown Story and Allison Elwood’s The Go-Go’s. The world premiere of Apollo, directed
by Roger Ross Williams for HBO, recently opened this year’s Tribeca Film Festival. Blackman also
serves as an executive producer on the one-hour drama, Zoey’s Extraordinary Playlist, for NBC.
Blackman’s upcoming credits also include executive producing the Netflix romantic comedy The
Perfect Date, starring Noah Centineo.
Prior to his role at UMG, Blackman served as President of Production for Sony-based Laurence
Mark Productions (LMP), where he ran all aspects of film and television development and production. At
LMP, he executive produced Flatliners for Sony Pictures and produced Lionsgate’s Date & Switch,
directed by Chris Nelson and featuring Dakota Johnson, Nick Offerman and Larry Wilmore. Blackman
also executive produced Center Stage: Turn It Up for Sony Stage 6 and co-executive produced Summer
Camp, a Nickelodeon pilot starring Hailee Steinfeld.
At Wendy Finerman Productions, Blackman served as Vice President and oversaw The Devil
Wears Prada, starring Meryl Streep, and developed Richard LaGravenese’s P.S. I Love You.
A member of the PGA, Blackman is a native of Bethesda, Maryland and graduated with a degree
in Psychology from Carleton College.
Dickon Stainer (Executive Producer) is President and CEO of Global Classics and Jazz,
Universal Music Group (UMG).
Stainer oversees the strategic direction of the company’s market-leading classical and jazz labels
including Decca, Deutsche Grammophon, Mercury KX, distributed label ECM and Capitol Music
Group’s Blue Note, and directly manages the Verve Label Group, including US Classics.
Stainer began his career in the classical music business at Universal Music/PolyGram in 1991
when he ran the marketing campaign for the video recording of Luciano Pavarotti’s seminal concert in
London’s Hyde Park. After time at Warner Classics, where he was responsible for overseeing The Three
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Tenors (including their one-night-only show at Los Angeles’ Dodger Stadium in 1994, watched by a
billion people worldwide), he re-joined Universal Classics and Jazz in 1997 and in 2002 was promoted to
Director of Marketing. During this time Universal Classics and Jazz grew into the unrivalled leader in the
UK classical business and in 2009 it was renamed Decca Records Group, with Stainer as its Managing
Director. The following year, he was promoted to President. In 2013, Decca was named Label of the Year
by Gramophone magazine, then in 2014 the label received the Recording of the Year award. In 2015,
Deutsche Grammophon was also awarded the coveted Recording of the Year award.
A former head chorister at Ely Cathedral, instrumental scholar at Cambridge University (where
he studied English Literature) and a member of the National Youth Orchestra of Great Britain for four
years, Stainer has worked with many of today’s most successful artists including Sir Rod Stewart, Lang
Lang, Sir Bryn Terfel, Andrea Bocelli, Sir Karl Jenkins, Max Richter, Anna Netrebko, Ludovico Einaudi,
Daniel Barenboim, Anne-Sophie Mutter, Joseph Calleja, Cecilia Bartoli, André Rieu, Alfie Boe and
Michael Ball, as well as jazz artists Gregory Porter, Jamie Cullum, Madeleine Peyroux, Diana Krall and
Melody Gardot.
He has championed a new generation of classical talent including Nicola Benedetti, Ólafur
Arnalds, Sheku Kanneh-Mason, Víkingur Ólafsson, Joep Beving and MILOŠ, not to mention an eclectic
mix of signings – from Aurora and The Lumineers to the Cistercian Monks of Stift Heiligenkreuz, the
Military Wives Choir and the Pipes and Drums of the Royal Scots Dragoon Guards.
Under his leadership, Decca was selected as the official label partner of high profile global events
such as the Royal Weddings in 2011 and 2018, the Queen’s Diamond Jubilee in 2012 and the London
2012 Olympics. UMG has been invited to record into such iconic locations as the Sistine Chapel in the
Vatican City, St George’s Chapel in Windsor Castle and the Forbidden City in Beijing.
Film scores have been a constant feature in Stainer’s career. He has enjoyed worldwide success
with the soundtracks to Gladiator, Braveheart, Bond movie Spectre and recent Oscar-winner The Shape
of Water, as well as the hit musical Wicked. He has served as Executive Producer on Dustin Hoffman’s
directorial debut Quartet.
Stainer has developed pioneering new opportunities for artists, exemplified by the creation of
Decca Publishing – a brand new publishing company inside UMG, focusing on post-classical and film
score composers and catalogues. He has also overseen UMG’s worldwide streaming partnership with
legendary German label ECM and has been Chairman of the Classic BRIT Awards on several occasions.
In his current role, Stainer has been directly involved in the appointments of Dr. Clemens
Trautmann as President of Deutsche Grammophon and Graham Parker as President of Universal Music
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Classics US, as well as the progression of Rebecca Allen, who became the first female president of any
UK major label when she took over at the helm of Decca Records in 2017.
Guy East (Executive Producer) launched White Horse Pictures in 2014 with longtime business
partner, Nigel Sinclair. Prior to launching White Horse, East was Co-Chairman of Exclusive Media, an
independent film company which owned Spitfire Pictures and Hammer Films, and which financed,
produced and distributed feature films as well as documentaries on a global basis.
In early 2003 East and Sinclair had launched independent production company, Spitfire Pictures,
and in May 2007 had joined the board of Hammer Films, the then newly revived British studio. They had
co-founded Intermedia Films in 1996 which became one of the world’s leading independent producers
and distributors of motion pictures.
With Exclusive, East’s recent producer credits include Ron Howard’s Golden Globe and BAFTA
nominated RUSH, starring Chris Hemsworth and Daniel Brühl; Academy Award nominated The Ides of
March, starring George Clooney and Ryan Gosling; End of Watch starring Jake Gyllenhaal and Michael
Pena; Snitch starring Dwayne Johnson; A Walk Among the Tombstones starring Liam Neeson; Begin
Again starring Keira Knightley and Adam Levine; and Hammer’s The Woman in Black starring Daniel
Radclifffe.
East’s documentary credits include Spitfire’s Academy Award® winning documentary
Undefeated; the Grammy Award® winning Foo Fighters: Back and Forth and Martin Scorsese’s BAFTA
nominated George Harrison: Living in the Material World; and Scorsese’s Bob Dylan: No Direction
Home.
East’s other film credits include Sliding Doors, starring Gwyneth Paltrow; Terminator 3: Rise of
the Machines, starring Arnold Schwarzenegger; Alan Parker’s The Life of David Gale, starring Kevin
Spacey and Kate Winslet; The Quiet American, starring Michael Caine; and The Wedding Planner,
starring Jennifer Lopez and Matthew McConaughey.
East attended the University of Exeter in England, where he studied English and EEC law. He
qualified as a lawyer at Slaughter & May. In 1985 he was elected as the first British director of the
American Film Marketing Association.
Nicholas Ferrall (Executive Producer) serves as President of White Horse Pictures and
manages the company’s slate of film and television projects through all stages of development,
production and distribution.
Since the company launched in 2014, Ferrall has been an integral and leading production
executive at White Horse Pictures whose executive producer credits include the Emmy, Critics’ Choice
26
and Grammy Award-winning The Beatles: Eight Days A Week– The Touring Years directed by Academy
Award-winner Ron Howard and David Gelb’s A Faster Horse based on the iconic Ford Mustang
motorcar.
Ferrall is also an executive producer on an authorized documentary about the legendary band The
Bee Gees, directed by acclaimed filmmaker Frank Marshall. Ferrall is also producing the highly
anticipated feature film The Queen Mary, inspired by the hauntings onboard the infamous ocean liner to
be directed by Gary Shore (Dracula Untold).
Ferrall also produced the feature documentary Mole Man for Tongal, which follows Ron Heist, a
66-year-old man on the autism spectrum, who is part of the “Lost Generation” of older adults who were
never officially diagnosed.
Ferrall has been collaborating with Nigel Sinclair since 2011 when he joined Sinclair’s Spitfire
Pictures (an Exclusive Media company) as Vice President of Documentary Features. He began his
entertainment career at Strike Entertainment during production and release of the acclaimed Alfonso
Cuaron film Children of Men. Ferrall is a graduate of the Department of Film & Media Studies at
University of California, Santa Barbara.
Cassidy Hartmann (Co-Executive Producer, Consulting Writer) is the Head of Development
at White Horse Pictures and oversees the company’s television slate. She was a consulting writer and co-
executive producer on the Grammy- and Emmy-winning, BAFTA-nominated, The Beatles: Eight Days a
Week – the Touring Years, directed by Ron Howard. She also produced the feature documentary Mole
Man for Tongal, which follows Ron Heist, a 66-year-old man on the autism spectrum, who is part of the
“Lost Generation” of older adults who were never officially diagnosed.
Hartmann is an executive producer on the upcoming feature film The Queen Mary, inspired by
the hauntings onboard the infamous ocean liner to be directed by Gary Shore (Dracula Untold), and is
also a consulting writer and executive producer on White Horse’s upcoming documentary on The Bee
Gees, directed by Frank Marshall. In a previous life, Hartmann was an award-winning journalist. She
graduated magna cum laude from the University of Pennsylvania and attended the Peter Stark Producing
Program
Chris Jenkins (Sound Re-Recording Mixer) is a film and music business executive and an
Academy ®, BAFTA, and Emmy Award winning recording engineer.
He is a senior executive in Production and Post Production areas of the Music and Film Business
and maintains a daily role in the creation of Motion Picture Soundtracks.
27
Jenkins and Howard also worked together on The Beatles documentary Eight Days A Week : The
Touring Years. He is the recipient of three Academy Awards ® for Mad Max Fury Road, Last Of The
Mohicans and Out Of Africa.
He has also received two BAFTA Awards, The Australian Academy Award ® and an Emmy for
his work on The Beatles documentary Eight Days A Week: The Touring Years.
###
28
CREDITS
INTERVIEWEES
IN ORDER OF APPEARANCE
ANDREA GRIMINELLI
NICOLETTA MANTOVANI
PLÁCIDO DOMINGO
ANGELA GHEORGHIU
CAROL VANESS
VITTORIO GRIGOLO
MADELYN RENÉE
ZUBIN MEHTA
LORENZA PAVAROTTI
GIULIANA PAVAROTTI
CRISTINA PAVAROTTI
ANNE MIDGETTE
TERRI ROBSON
EUGENE KOHN
JOSEPH VOLPE
HARVEY GOLDSMITH
MICHAEL KUHN
LANG LANG
JOSÉ CARRERAS
DICKON STAINER
BONO
THE PRODUCERS WOULD LIKE TO GIVE A VERY SPECIAL THANKS TO THE
FOLLOWING
FOR GENEROUSLY GIVING THEIR TIME TO ASSIST WITH THIS FILM:
PETER GELB
ANDREA BOCELLI
BRUCE CRAWFORD
29
RENÉE FLEMING
KIM GOERLITZ
JANE NEMETH
JOAN DORNEMANN
FRANCIS HANLY
FRED PLOTKIN
LEONE MAGIERA
JOHN WILLIAMS
PHILIP BERNIE
GILDO DI NUNZIO
HANS BOON
FRANCO "PANOCIA" CASARINI
GIOVANNA CAVALIERE
JOHN COPLEY
BRIAN BARWICK
BILL HOLLAND
IAN MACLAREN
MARLENA MALAS
SPIRO MALAS
HELENA MATHEOPOULOS
DR. RIGOBERTA MENCHÚ TUM
CARLA PANTALEONI
SAIMIR PIRGU
SERGIO STEFANI
ADAM SWEETING
ANNAMARIA VERDE
ZUCCHERO
VISIT THE
LUCIANO PAVAROTTI HOME MUSEUM
MODENA, ITALY
WWW.LUCIANOPAVAROTTIFOUNDATION.COM
Co-Executive Producer MARC AMBROSE
MARIO GIANANI
30
LORENZO MIELI
LORENZO GANGAROSSA
Associate Producer WINDSOR WONG
Pavarotti Foundation - Archival Support SERENA BELLADELLI
LUCA LELLI
GIANLUCA NAPHTALINA CAMPORESI
Decca Archive Team EDWARD WESTON
PAUL MOSELEY
BARRY HOLDEN
Opera Advisor EUGENE KOHN
FRED PLOTKIN
GILDO DI NUNZIO
RACHEL MIKOL
PRODUCTION
Additional Production Supervisor JESSICA STEVENS
Production Coordinator IRIS CHEN
Production Assistant FEDERICO BARTOLUCCI
KASEY HAN
ARIANNA CADEDDU
ROBERT DIETZ
Translator MICHELANGELO ANDOLFO
PAOLO ANDOLFO
Translation & Transcription BAM! TRANSCRIPTION
CREW
LOS ANGELES
Director of Photography MICHAEL DWYER
31
ALAN GWIZDOWSKI
B Cam Operator RACHEL DUSA
CHLOE WEAVER
LUC DELAMARE
1st Assistant Camera ERIN DOUGLASS
SARAH GREENWALD
2nd Assistant Camera / Data Management TYSON BANKS
NOAH RAMOS
ANDREA GILL
Gaffer STEVEN ALBOVIAS
RYAN MORGAN
JEFF KULIG
Key Grip DILIP ISAAC
JOHN MORGAN
WILLIAM WATERS
Swing ANDRE TAYLOR
Sound Mixer JOHN RAMPEY
DOUGLAS EDGE
Hair/Makeup ANGELA PERALTA
KEVIANNO GUERRERO
EVA SELTZER
Art Director SALLIE FALLS
NEW YORK CITY
Director of Photography AXEL BAUMANN
TOM HURWITZ
Production Supervisor NAOMI WELLS
ALEXIS VAIL
Camera Operator/1st Assistant Camera LAURA NESPOLA
KARIM KASSEM
EDWIN SHIMKO
2nd Assistant Camera/ Data Management AIDAN SCURTI
VANCE SPICER
Gaffer JOHN W. FRISBIE
WALTER STRAFFORD
32
Key Grip FRANCISCO SONIC KIM
KELLY BEAM
Grip Electric Swing BENJAMIN KING
SHELDON WALKER
PHILIP SOKOLOFF
Sound Mixer AUSTIN PLOCHER
ROBERT BLUEMKE
ALAN KUDAN
Location Scout JENNIFER QUESENBERY
Art Director/Set Decorator LAURA MILLER
Hair/Makeup ISATA ALLEN
BRIANNA FARFEL
Production Assistant MADISON PFLUG
SANDY ISMAIL
GREG J HARMON
CHRISTIAN KUBIK
THOMAS EMMET ASHTON
ROBIN J MORALES
UNITED KINGDOM
Director of Photography MICHAEL WOOD
LUCA CIUTI
Production Supervisor EMILY PRECIOUS
ELLIE DUNBAR
Camera Operator MERRITT GOLD
B Cam Operator / 1st AC DORA KROLIKOWSKA
1st AC SCOTT WILLIAMS
SOPHIE BAGGALEY
2nd AC / Data Management SANDRA PENNINGTON
CLAIRE FRASER
Focus Puller THOMAS NICHOLSON
Gaffer MATTHEW BUCHAN
NATHAN MATTHEWS
PAUL ROWE
MATTHEW JACKMAN-SMITH
33
RYAN MONTEITH
Sound Mixer PAUL PARAGON
OWEN SPENCER
JOHN WEEKS
Hair/Makeup TARAH GOLDING
ELLIE GARRATT
Production Assistant ALEX HAYES
ITALY
Director of Photography PATRIZIO SACCÒ
Production Supervisor RAFFAELLA RIDOLFI
SILVIA BONANNI
MANDELLA QUILICI
PAOLO SCARBACI
Production Coordinator FLAMINIA NUNEZ
Camera Operator TIMON DE GRAAF
1st AC MIRKO SAYDO MIMI
2nd AC / Data Management DAVIDE LIMINA
Gaffer LEONARDO DRAGONETTI
Gaffer / Electrician Assistant TBC
Sound Mixer PAOLO BENVENUTI
Sound Mix Assistant DIEGO COLOMBO
Hair/Makeup FRANCESCA MORI
Translator MICHELANGELO ANDOLFO
Administration LAURA MANFREDI
Runner/Crew Driver DARIO COLTRI
SIMONE TERRACINO
Production Assistant MARIA GRAZIA SIMEONE
MONTREAL
Director of Photography MICHAEL DWYER
Production Supervisor JOËLLE AGATHE
Set Manager PHILIPPE POIGNAND
Camera Operator BEN BEAULIEU
1st AC PIERRIC SOUCY
Gaffer FRANÇOIS LEGRIS
34
Key Grip ALAIN TREMBLAY
Sound Mixer DOMINIQUE CHARTRAND
Production Designer AUDREEY LORRAIN
Driver JASMIN ST-SAUVEUR
Production Assistant MAUDE DENIS
ADDITIONAL SOUND RECORDING
MATTHEW DISBROW
PAUL MILLER
LOCATIONS COURTESY OF
THE AMERICAS SOCIETY/COUNCIL OF THE AMERICAS
THE NEW YORK METROPOLITAN OPERA
MACK SENNETT STUDIOS
THE PRODUCERS WOULD LIKE TO GIVE SPECIAL THANKS TO:
CYNTHIA SEXTON
ANDREA GRIMINELLI
STEVE BERMAN
JENNIFER PITCHER
MICHELE ANTHONY
PETER GELB
JODY GERSON
ROSE SCHWARTZ
ELMAR KRUSE
SHARI REDSTONE
SERENA BELLADELLI
REBECCA ROTHSTEIN
MICHELANGELO ANDOLFO
SUSAN ZIRINSKY
PAOLO ANDOLFO
CBS NEWS AND 60 MINUTES
KIM GOERLITZ
BOYD MUIR
THE TIBOR RUDAS PRODUCTIONS CREW
BARBARA ROMINSKY
REBECCA ALLEN
35
LAURA MONKS
AVV. ANDREA MARCO RICCI, PH. D.
FRANK GELB
GRAHAM PARKER
DAVID DICHIERA
PETER INDALL
EUGENE KOHN
JOSEPH VOLPE
FRED PLOTKIN
JOHN DUFFUS
HANS BOON
THE HARRIMAN-JEWELL SERIES
MATTHIAS SCHREMMER
KONRAD DOWLING
NICHOLAS MARKO
VIRGINIA ENSESA
GEOFFREY RICHMAN
JANE NEMETH
LARRY KANE
TERESA HUBER
STING
"AND EVERYONE ELSE WE HAVE BEEN UNABLE TO ACKNOWLEDGE
"
POST PRODUCTION
Post Supervisor JAMIE MCBRIETY
Post Production Coordinator SIERRA NEAL
CORY DAGG
1st Assistant Editor SIERRA NEAL
2nd Assistant Editor TIM BINMOELLER
Assistant Editor JOHN ALEX HUGHES
36
J.B. ARMSTRONG
JENNIFER BOHNERT
HOA MAI
Additional Editing SIERRA NEAL
ROBERT MARTINEZ
ARCHIVAL MEDIA AND MUSIC LICENSING
Archival Research and Clearance GLOBAL IMAGEWORKS
CATHY CARAPELLA
JESSICA BERMAN-BOGDAN
CHRIS ROBERTSON
Music Clearance CATHY CARAPELLA - GLOBAL IMAGEWORKS
Additional Music Clearance G. MARQ ROSWELL
DONDI BASTONE
Music Supervision PAUL CROWDER
SIERRA NEAL
Licensing Manager WINDSOR WONG
Licensing Coordinator IRIS CHEN
JESSICA STEVENS
Archival Research RICHARD WISEMAN
TIM LESLE
Research Editor KEITH SALMON
Archivist DAVIDE FIORETTO
MASSIMO ZANCOLICH
Technical Restoration, Italy ARCHIVIO HOME MOVIES, BOLOGNA
37
Additional Archival Material Videography SERGIO BENVENUTI AND VANIA
ARCANGELI
MUSIC
Music Editor MELISSA MUIK
PAUL CROWDER
Additional Music Composed by DAN PINELLA
RIC MARKMANN
CHRIS WAGNER
SOUND
Supervising Sound Editor SAL OJEDA
Dialogue Editor SAL OJEDA
PAUL CROWDER
Sound Design ROBERT STAMBLER
Voiceover DANIEL DAVID CRABTREE
Sound Services ABBEY ROAD STUDIOS
CAPITOL STUDIOS
WARNER BROS. POST PRODUCTION CREATIVE SERVICE
FOR ABBEY ROAD STUDIOS
Mix Technician JACK CHEETHAM
Senior Mix Technician KOBI QUIST
Head of Technical SIMON CAMPBELL
Studios Manager FIONA GILLOTT
FOR CAPITOL STUDIOS
Mix Technician NICK RIVES
Studio Managers PAULA SALVATORE
PATRICK KRAUS
FOR WARNER BROS.
Mix Technician BRIAN TARLECKI
Stage Engineer BRYON WILLIAMS
38
AUDIO DESCRIPTION
Sponsored by WOMAN OF HER WORD
Voiced by MICHELE SPITZ
Co-Produced with CLIFF HAHN
Described by AUDIO EYES, LLC.
VFX & MOTION DESIGN
by MEME MOTION
INKA KENDZIA
ADDITIONAL GRAPHICS AND COMPOSITING
TIM BINMOELLER
EDITING FACILITIES
CROWDERVILLE, INC.
EDGE AUDIO-VISION
TECHNICOLOR
DIGITAL INTERMEDIATE
Senior Supervising Colorist MAXINE GERVAIS
Associate Colorist JEFF PANTALEO
Senior Finishing Editor ERIK KAUFMANN
Digital Intermediate Producer STEPHEN NEWNAM
Digital Intermediate Account Executive MORNING STAR SCHOTT
Digital Intermediate Assists FRANK FIGUEROA
SERGIO GARCIA
Imaging Science CHRIS KUTCKA
POST PRODUCTION SERVICES
Different By Design
MATT RADECKI
GREG LANESEY
LEGAL
"
PRODUCTION COUNSEL"
Frankfurt Kurnit Klein & Selz HAYDEN GOLDBLATT, ESQ.
Stutz Law Corporation DAN STUTZ, ESQ.
JAMES J. WALSH, ESQ.
Greenberg Glusker, LLP SCHUYLER M. MOORE, ESQ.
39
PRODUCTION AND CLEARANCE COUNSEL
DONALDSON + CALLIF, LLP CHRIS L. PEREZ, ESQ.
ALEX M. YOUSEFZADEH, ESQ.
JONATHAN G. FISHER, ESQ.
MUSIC COUNSEL
Law Offices of Kent J. Klavens KENT KLAVENS
MARKETING AND PUBLICITY
MAXINE LEONDARD PR
MAXINE LEONARD
MEILIN POTTER
SALES
"
INTERNATIONAL SALES BY"
WHITE HORSE PICTURES AND HANWAY FILMS
Managing Director GABRIELLE STEWART
Chief Operating Officer JAN SPIELHOFF
Head of Marketing & Distribution TOM GRIEVSON
Head of Sales NICOLE MACKEY
Head of Legal & Business Affairs JUSTIN KELLY
Senior Marketing & Distribution Manager TEJINDER JOUHAL
Head of Sales MARK LANE
Sales Manager JANINA VILSMAIER
SALES COUNSEL
Lauren Wilson Law LAUREN WILSON, ESQ.
IMAGINE ENTERTAINMENT
Executive Assistant to Ron Howard LOUISA VELIS
Special Thanks SAGE SHAH
JUSTIN WILKES
SARA BERNSTEIN
POLYGRAM ENTERTAINMENT
BRIAN ALEXANDER
DANIEL INKELES
SERGIO VITALITI
WHITE HORSE PICTURES
40
Executive Assistant to Nigel Sinclair JILL LUKK
Executive Assistant to Jeanne Elfant Festa AMANDA LOWRY
Executive Assistant to Nicholas Ferrall JACOB GUTMAN
Executive Assistant to Cassidy Hartmann MARTINA LEE
Production Accountant BOB WEBER
Insurance Brokerage Services GALLAGHER ENTERTAINMENT, A DIVISION OF
ARTHUR J. GALLAGHER RISK MANAGEMENT SERVICES
ANTHONY BARATTA
BRITNEY HEARNS
CARRIE BARRETT
Payroll Services CAST & CREW
Travel Services HECTOR KING - NEW ACT TRAVEL
PRODUCTION INTERNS
JAKE AMBROSE
ARIANNA CADEDDU
BINGXUAN CHENG
KYLE CLAYTON
SUYUE DAI
ISABELLE DAVIS
LAURA DEPINHO
JUSTIN PATRICK DIAS
ROBERT DIETZ
CHRISTINA GARCIA
OLIVIA FLAHERTY
TOMMY HALLAL
KASEY HAN
ALISON HUNTLEY
ARNAV JAIN
AMELIA LAUGHLIN
JENNIFER LEE
41
BREENA LORAINE
DAVID MEYER
SHANE MCDONALD
MATTIE NORMAN
JENNIFER PATTEN
ERICA POPE
LIN QI
ERIK STIG REGAN
CHARLIE RIPPEL
ABIGAIL SHERLOCK
DAVID SOOP
JULIA SUMMERS
AVERY SWEENEY
EMILY TEERASUPHASET
ERIC TERRACCIANO
ASHLEY TROPEA
JACK TRAVIS
SIERRA WANDEN
DEYANIRA VIELMA
JOÃO VIEIRA
JUSTIN VON BOSAU
THE PRODUCERS WISH TO THANK THE FOLLOWING FOR THEIR GENEROUS
CONTRIBUTION OF ARCHIVAL MEDIA:
© 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / PROLITTERIS, ZURICH
© HULTON-DEUTSCH COLLECTION/CORBIS/CORBIS VIA GETTY IMAGES
© THE HELMUT NEWTON ESTATE / MACONOCHIE PHOTOGRAPHY
© VICTORIA AND ALBERT MUSEUM, LONDON
ACCASFILM
ADRIAN HOUSTON
AERIAL ARCHIVES/ALAMY STOCK PHOTO
AGOSTINO ARLETTI
ALAMY
42
ANDREA GRIMINELLI
ANDREW MACPHERSON
ANTON CORBIJN
AP ARCHIVE
ARENALPAL
ARTHAUS MUSIK
BETTMANN/GETTY IMAGES
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C-MAJOR ENTERTAINMENT
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CARSON FOOTAGE SUPPLIED COURTESY OF CARSON ENTERTAINMENT GROUP
CERTAIN ARCHIVAL MATERIAL PROVIDED BY TIBOR RUDAS PRODUCTIONS LLC
AND THE RUDAS FAMILY ESTATES
CLASSIC FM
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43
DECCA/TERRY ONEILL
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EFOOTAGE
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FOOTAGE COURTESY OF ABCNEWS VIDEOSOURCE
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44
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"GETTY IMAGES/PAWEL GAUL/
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45
OXFORD FILMS
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"ROCKENSTOCK, DIRECTOR: YVON GERAULT, PRODUCER: EVE RUGGIERI,
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STUDS TERKEL RADIO ARCHIVE, COURTESY OF CHICAGO HISTORY MUSEUM AND
WFMT
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46
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VIDEOBLOCKS
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WAZEE DIGITAL
ZUMA PRESS, INC./ALAMY STOCK PHOTO
LA BOHÈME © 1977 PROVIDED BY THE METROPOLITAN OPERA
TOSCA © 1978 PROVIDED BY THE METROPOLITAN OPERA
L'ELISIR D'AMORE ©1981 PROVIDED BY THE METROPOLITAN OPERA
RIGOLETTO © 1981 PROVIDED BY THE METROPOLITAN OPERA
IL TROVATORE © 1988 PROVIDED BY THE METROPOLITAN OPERA
L’ELISIR D’AMORE ©1991 PROVIDED BY THE METROPOLITAN OPERA
FOR DI STEFANO, PHOTO: LOUIS MÉLANÇON, COURTESY OF THE METROPOLITAN
OPERA
FOR CARRERAS, PHOTO: JAMES HEFFERNAN, COURTESY OF THE METROPOLITAN
OPERA
OTHER CLIPS AND MATERIALS WERE USED FROM THE FOLLOWING ENTITIES AND
ORGANIZATIONS:
AGENZIA DUFOTO
ALFREDO ANCESCHI
ALLAN STUDIOS
ARD
BARNEY STEIN
BILL MARK
DAVID FISHMAN
DONIA - REGGIO EMILIA
EPOCA/MONDADORI GROUP PUBLISHER/SERGIO DEL GRANDE
FOTO MARCHIORI
FOTO MARIO PIOMBO
FRANCESCO BORRONI
FRANÇOIS MARTIN
47
FRASSOLDATI
GIAIMO MAURO
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GIORGIO TIEGHI
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GIUSEPPE DAMIANI
GRANATA/UPPA/PHOTOSHOT
JUDITH KOVACS
KEITH MEYERS
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MNET
OLYMPIA, MILANO
PASCAL QUENNEHEN
PHIL BRODATZ
PUBLIFOTO, ROMA
REG WILSON
SABC
SUSANNE FAULKNER STEVENS
TONY ROMANO
SONGS
"'A Vucchella" "Written by Francesco Paolo Tosti
and Gabriele d'Annunzio
© Universal Music - MGB Songs
on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Luciano Pavarotti and Leone Magiera
Courtesy of Andrea Griminelli"
"Tosti: 'A vucchella" "Written by Francesco Paolo Tosti
and Gabriele d'Annunzio
© Universal Music - MGB Songs
on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Luciano Pavarotti, Orchestra del Teatro Comunale di Bologna
and Anton Guadagno
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
48
"Madamina il catalogo" "Written by Wolfgang Amadeus Mozart
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner and Craig Eastman"
Curtis: "Voce E Notte" "Written by Ernesto De Curtis & Edoardo Nicolardi
Performed by Luciano Pavarotti
Courtesy of Decca Music Group Limited under license from Universal Music Enterprises"
"Ghirlandeina" "Written by Corrado Mauro Campani
and Roberto Vaccari
© Universal Music - MGB Songs on behalf of Universal Music Publishing Ricordi Srl (ASCAP)
Performed by Corale Rossini
Courtesy of BBC Broadcast Archive/Getty Images"
"Allegro grazioso - Meno mosso" "Written by Antonin Dvorak
Performed by Beaux Arts Trio
Courtesy of Universal International Music B.V under license from Universal Music Enterprises"
"Coro a bocca chiusa" (Humming Chorus) [Madama Butterfly] "Written by Giacomo Puccini,
Luigi Illica
and Giuseppe Giacosa
Performed by Coro dell'Accademia Nazionale di Santa Cecilia, Orchestra dell'Accademia
Nazionale di Santa Cecilia
and Tullio Serafin
Courtesy of Decca Music Group Ltd.under license from Universal Music Enterprises"
"Puccini: ""Questo Mar Rosso""
[La Bohème / Act 1]" "Written by Giacomo Puccini, Luigi Illica
and Giuseppe Giacosa
Performed by Rolando Panerai, Luciano Pavarotti, Nicolai Ghiaurov, Berliner Philharmoniker,
Herbert von Karajan
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"Che Gelida Manina" "Written by Giacomo Puccini, Luigi Illica
and Giuseppe Giacosa
Performed by Luciano Pavarotti
By kind licence from Gebhardt Media/Archipel"
"Fall in Love" "Written by MATTER
Dan Pinnella (ASCAP)
49
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann,
Chris Wagner and Paul Crowder"
"La bohème: Farewell and Quartet" "Written by Giacomo Puccini
Performed by André Kostelanetz & His Orchestra
Courtesy of Sony Classical
By arrangement with Sony Music Entertainment"
"Il Trovatore: Di quella pira" "Written by Giuseppe Verdi
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner,
Craig Eastman and Dan Rosenbloom"
"Lucia di Lammermoor: Qui di sposa eterna...Ah! Verrano a te sull'aure" "Written by Gaetano
Donizetti and Salvadore Cammarano
Performed by Luciano Pavarotti, Joan Sutherland
Courtesy of Caltex"
"""Donizetti: Overture
[La fille du régiment]""" "Written by Gaetano Donizetti
Performed by Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"“Donizetti: Le camarade est amoureux!”
[La fille du régiment / Act 1]" "Written by Gaetano Donizetti, Jules-Henri Vernoy de Saint-
Georges and Jean-François Bayard.
Performed by Eric Garrett, Luciano Pavarotti, Chorus of the Royal Opera House, Covent Garden,
Orchestra of the Royal Opera House, Covent Garden
and Richard Bonynge
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"Voice of a Lady" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner and Paul Crowder"
50
"Carmen Suite, Symphony in C, Children's March" "Written by Georges Bizet
Performed by Pierre LaFont
Courtesy of YoYo Music USA, Inc. "
"Tosca è un buon falco!" "Written by Giacomo Puccini
Performed by Sherrill Milnes, Paul Hudson, The National Philharmonic Orchestra, Nicola
Rescigno
Courtesy of Decca Music Group Ltd.
under license from Universal Music Enterprises"
"Tosca: Basta, Roberti" "Written by Giacomo Puccini
Performed by the Metropolitan Opera Orchestra
Conducted by James Conlon
Courtesy of The Metropolitan Opera"
"Tosca: Com'è lunga l’attesa!" "Written by Giacomo Puccini
Performed by the Metropolitan Opera Orchestra
Conducted by James Conlon
Courtesy of The Metropolitan Opera"
"Tosca: Presto! su, Mario! Andiamo! Andiamo!, Su!" "Written by Giacomo Puccini
Performed by the Metropolitan Opera Orchestra
Conducted by James Conlon
Courtesy of The Metropolitan Opera"
Marcia. "Come Paride vezzoso" "Written by Gaetano Donizetti
Performed by Roberto Scaltriti, Angela Gheorghiu, Elena Dan, Roberto Alagna, Choeur de
l'Opera National de Lyon, Orchestre de l'Opera National de Lyon, Evelino Pidò
Courtesy of Decca Music Group Ltd.
under license from Universal Music Enterprises"
"L'elisir d'amore: Lallarallara...Esulti pur la barbara" "Written by Gaetano Donizetti and
Felice Romani
Performad by Luciano Pavarotti, Metropolitan Opera Orchestra, Metropolitan Opera Chorus
Conducted by Nicola Rescigno
Courtesy of The Metropolitan Opera"
"Donizetti: ""Caro elisir! sei mio!""
[L'elisir d'amore / Act 1]" "Written by Gaetano Donizetti
Performed by Roberto Alagna, Orchestre de l'Opera National de Lyon, Evelino Pidò
Courtesy of Decca Music Group Ltd.
51
under license from Universal Music Enterprises"
"Tosca: Sommo giubilo, Eccelenza!" "Written by Giacomo Puccini
Performed by Italo Tajo, The London Opera Chorus, The National Philharmonic Orchestra and
Nicola Rescigno
Courtesy of Decca Music Group Ltd.
under license from Universal Music Enterprises"
"Tosca: Un tal baccano in chiesa! Bel rispetto!" "Written by Giacomo Puccini
Performed by Michel Sénéchal, Sherrill Milnes, Italo Tajo, The National Philharmonic Orchestra,
Nicola Rescigno
Courtesy of Decca Music Group Ltd.
under license from Universal Music Enterprises"
"Hysteria" "Written by Matthew James Bellamy
WB Music Corp. (ASCAP)
obo Warner/Chappell Music Publishing Ltd
and Hewrate Limited
Performed by 2CELLOS
Courtesy of Sony Music Masterworks
By arrangement with Sony Music Entertainment"
"Aida: Celeste Aida" "Written by Giuseppe Verdi
and Antonio Ghislanzoni
Performed by Luciano Pavarotti and Leone Magiera
Courtesy of RAI "
"Me voglio fa'na casa" "Written by Gaetano Donizetti
Performed by Luciano Pavarotti and John Wustman
Courtesy of KQED and San Francisco Opera"
"Country Dan" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner, Paul Crowder and Craig Eastman"
"Ronde à la clochette" "Written by Niccolo Paganini
Performed by Ruggiero Ricci, London Symphony Orchestra, Anthony Collins
Courtesy of Decca Music Group Ltd.
under license from Universal Music Enterprises"
52
"Quel mazzolin di fiori" "Performed by Luciano Pavarotti and friends
Courtesy DeWitt Sage's Distant Harmony"
"Crescendo" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner and Craig Eastman"
"Le Nozze di Figaro: Deh vieni, non tardar" "Written by Wolfgang Amadeus Mozart
and Lorenzo Da Ponte
Performed by Madelyn Renée and John Wustman
Courtesy of Janus Films"
"Verdi: ""Ella mi fu rapita...Parmi veder le lagrime"" [Rigoletto / Act 2] "Written by Giuseppe
Verdi
Performed by Luciano Pavarotti and John Wustman
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"Rigoletto: Questa O Quella" "Written by Giuseppe Verdi
and Francesco Maria Piave
Performed by Luciano Pavarotti and Metropolitan Opera Orchestra
Conducted by James Levine
Courtesy of The Metropolitan Opera"
"Rigoletto: La donna è mobile" "Written by Giuseppe Verdi
and Francesco Maria Piave
Performed by Luciano Pavarotti and Antonio Tonini
Courtesy of Russian Archives"
"Fragile" "Written by Gordon Sumner courtsey of GM Sumner (PRS)
Performed by 2CELLOS
Courtesy of Sony Music Masterworks
By arrangement with Sony Music Entertainment"
"La Bohème: O soave fanciulla" "Written by Giacomo Puccini, Luigi Illica
and Giuseppe Giacosa
Performed by Madelyn Renée, Luciano Pavatotti and American Symphony Orchestra
Pavarotti's Jubilee at Madison Square Garden
Courtesy of BBC Broadcast Archive/Getty Images"
53
"Highway 82" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner and Paul Crowder"
"Rock Meets Opera" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner and Paul Crowder "
"Silenzio Cantatore" "Written by Gaetano Lama and Libero Bovio
Arranged by Giancarlo Chiaramello
EMI Grove Park Music, Inc. (BMI) Used by Permission
Performed by Luciano Pavarotti, Orchestra del Teatro Comunale di Bologna, Giancarlo
Chiaramello
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"Daughter" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Ric Markmann"
"P Logo" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Chris Wagner"
"Rigoletto: La donna è mobile" "Written by Giuseppe Verdi
and Francesco Maria Piave
Performed by Luciano Pavarotti
Courtesy of Retro Video"
"Hungarian Rhapsody No. 2" "Written by Franz Listz
Performed by Budapest Symphony Orchestra
and Andras Korodi
54
Courtesy of Naxos of America"
"'A Vucchella" "Written by Francesco Paolo Tosti and Gabriele d'Annunzio
©Universal Music - MGB Songs on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Enrico Caruso
Courtesy of Sony Classical
By arrangement with Sony Music Enterprises"
"China Visit" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella and Chris Wagner"
Verdi: ""Libiamo ne'lieti calici"" (Brindisi) [La traviata / Act 1] "Written by Giuseppe Verdi
Performed by Luciano Pavarotti, Dame Joan Sutherland, The London Opera Chorus and The
National Philharmonic Orchestra
Conducted by Richard Bonynge
Courtesy of Decca Music Group Limited under license from Universal Music Enterprises"
"I Pagliacci: Si può? Signore! Signori!" "Written by Ruggero Leoncavallo
Performed by Luciano Pavarotti
and a student in rehearsal
Courtesy DeWitt Sage's Distant Harmony"
Leoncavallo: "Prelude" [Pagliacci / Prologue] - Live In Philadelphia "Written by Ruggero
Leoncavallo
Performed by Luciano Pavarotti, Philadelphia Orchestra, Riccardo Muti
Courtesy of Universal International Music B.V.
under license from Universal Music Enterprises"
Leoncavallo: "Vesti la giubba" [Pagliacci / Act 1] - Live In Philadelphia "Written by Ruggero
Leoncavallo
Performed by Luciano Pavarotti, Philadelphia Orchestra, Riccardo Muti
Courtesy of Universal International Music B.V.
under license from Universal Music Enterprises"
Leoncavallo: "Vesti la giubba" [Pagliacci / Act 1] "Written by Ruggero Leoncavallo
Performed by Luciano Pavarotti
Courtesy of BBC Broadcast Archive/Getty Images"
"Rigoletto: Gualtier Maldè!...Caro nome" "Written by Giuseppe Verdi
55
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner, Craig Eastman and Breana Gilcher"
"Café D’Amour" "Written by Paul Matthew Crowder
Courtesy of Crowderville Inc (BMI)
Performed by Paul Matthew Crowder"
"The Apartment" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann, Chris Wagner and Paul Crowder"
"Tosca: 'finire così'" "Written by Giacomo Puccini
Performed by Luciano Pavarotti
Courtesy of C-Major Entertainment"
"Ochi Tchorniye" "Written by Yevhen Hrebinka
Arranged by Lalo Schifrin
Scherzo Music, Inc. (BMI)
Performed by Jose Carreras,Placido Domingo, Luciano Pavarotti and Marcello Guerrini
Conducted by Zubin Mehta
Courtesy of C-Major Entertainment"
"Ochi Tchorniye" "Written by Yevhen Hrebinka
Arranged by Lalo Schifrin
Scherzo Music, Inc. (BMI)
Performed by José Carreras, Plácido Domingo, Luciano Pavarotti, Orchestra del Teatro
dell'Opera di Roma and Orchestra del Maggio Musicale Fiorentino
Conducted by Zubin Mehta
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"O Sole Mio" "Written by Giovanni Capurro, Eduardo Di Capua, and Alfredo Mazzucchi ©
Universal Music - MGB Songs on behalf of Universal Music Publishing Ricordi Srl. (ASCAP)
Performed by José Carreras, Plácido Domingo, Luciano Pavarotti, Orchestra del Teatro
dell'Opera di Roma and Orchestra del Maggio Musicale Fiorentino
Conducted by Zubin Mehta
Courtesy of C-Major Entertainment and Decca Music Group"
"Nessun Dorma - Turandot" "Written by Giacomo Puccini, Giuseppe Adami
56
and Renato Simoni
© Universal Music - Careers
on behalf of Casa Ricordi Srl. (BMI)
and Universal Music - MGB Songs
on behalf of Casa Ricordi Srl. (ASCAP)
Performed by José Carreras, Plácido Domingo, Luciano Pavarotti, Orchestra del Teatro
dell'Opera di Roma and Orchestra del Maggio Musicale Fiorentino
Conducted by Zubin Mehta
Courtesy of C-Major Entertainment
and Decca Music Group"
"La Ferve" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann,
Chris Wagner and Paul Crowder"
"Turandot-Arias (Fermol Che fai?)" "Written by Giacomo Puccini, Giuseppe Adami
and Renato Simoni
© Universal Music - Careers
on behalf of Casa Ricordi Srl. (BMI)
and Universal Music - MGB Songs
on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Luciano Pavarotti and Gildo Di Nunzio
Courtesy of Fondazione Luciano Pavarotti"
"La Bohème: Che gelida manina" "Written by Giacomo Puccini
Performed by Czech Symphony Orchestra
and Julian Bigg
Courtesy of Naxos of America"
"Manon Lescaut: Donna non vidi mai" "Written by Giacomo Puccini, Ruggero Leoncavallo,
Giuseppe Giacosa, Luigi Illica, Marco Praga and Domenico Oliva
Performed by Luciano Pavarotti
Courtesy of Tibor Rudas Productions
and Decca Music Group "
“Madama Butterfly: Entrance of Butterfly” "Written by Giacomo Puccini
57
Performed by André Kostelanetz & His Orchestra
Courtesy of Sony Classical
By arrangement with Sony Music Entertainment"
"Tosca: Recondita armonia" "Written by Giacomo Puccini
Performed by André Kostelanetz & Columbia Symphony Orchestra
Courtesy of Sony Classical
By arrangement with Sony Music Entertainment"
"Rossini: 8. La Danza [Soirées musicales]" "Written by Gioachino Rossini
Performed by Orchestra del Teatro Comunale di Bologna
Conducted by Richard Bonynge
Courtesy of Decca Music Group Limited under license from Universe Music Enterprises"
"Rigoletto: La donna è mobile" "Written by Giuseppe Verdi
and Francesco Maria Piave
Performed by Luciano Pavarotti, Zucchero, Sting, Lucio Dalla and Brian May
Courtesy of Pavarotti International"
"Aida: Celeste Aida" "Written by Giuseppe Verdi
Performed by André Kostelanetz; New York Philharmonic Orchestra
Courtesy of Sony Classical
By arrangement with Sony Music Entertainment"
"Norma: Casta diva" "Written by Vincenzo Bellini
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner
and Craig Eastman"
"L'elisir d'amore: Una furtiva lagrima" "Written by Gaetano Donizetti and Felice Romani
Performed by Luciano Pavarotti
Courtesy of The Metropolitan Opera"
"L'alisir d'amore: Una furtiva lagrima" "Written by Gaetano Donizetti
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner,
Craig Eastman and Breana Gilcher"
"""O Mädchen, mein Mädchen
(O Maiden, My Maiden)""" "Music by Franz Lehár
Lyrics by Ludwig Herzer & Fritz Löhner-Beda
© Glocken Verlag Limited Ltd., London;
58
used by kind permission.
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner
and Craig Eastman"
"The Fly" "Music by U2
Lyrics: Bono & The Edge
© Universal PolyGram Int. Publishing Inc. on behalf of Universal Music Publishing Int. B.V.
(ASCAP)
Performed by U2
Courtesy of Universal-Island Records Ltd.
/Interscope Records
under license from Universal Music Enterprises"
"""The Barber of Seville:
Act 1, Scene 1, Largo al factotum""" "Written by Gioachino Rossini
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner, Craig Eastman and Dan Rosenbloom"
"Miss Sarajevo" "Music: U2 / Lyrics: Bono & The Edge
© Universal PolyGram Int. Publishing Inc. on behalf of Universal Music Publishing Int. B.V.
(ASCAP)
and Opal Music Ltd (PRS)
Courtsey of David Platz Music, Inc. (BMI)
Performed by Passengers and Luciano Pavarotti
Courtesy of Island Records
under license from Universal Music Enterprises"
"Scherzo in D" "Written by Sergei Rachmaninoff
Performed by Moscow State Symphony Orchestra and Pavel Kogan
Courtesy of Naxos of America"
"Oboe Concerto in A Minor: III" "Written by Antonio Vivaldi
Performed by Emilia Csanky, Budapest Strings
Courtesy of Naxos of America"
"Miss Sarajevo" "Music: U2
Lyrics: Bono & The Edge
© Universal PolyGram Int. Publishing Inc. on behalf of Universal Music Publishing Int. B.V.
(ASCAP) and Opal Music Ltd (PRS) courtsey of David Platz Music, Inc. (BMI)
59
Performed by Bono, The Edge, Brian Eno and Luciano Pavarotti, Orchestra Filarmonica Di
Torino
and Michael Kamen
Courtesy of Pavarotti International"
"Shape of My Heart" "Writen by Dominic Miller and
Gordon Sumner courtsey of Magnetic Publsihing Ltd., Steerpike Ltd. (PRS)
Performed by 2CELLOS
Courtesy of Sony Music Masterworks
By arrangement with Sony Music Entertainment"
"Tired" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann,
Chris Wagner and Paul Crowder"
"It's Official" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella, Ric Markmann
and Chris Wagner"
"Twins" "Written by MATTER
Dan Pinnella (ASCAP)
Ric Markmann(ASCAP)
and Chris Wagner (BMI)
Performed by Dan Pinnella and Ric Markmann"
"""Tosti: 'A vucchella""
(Live at Carnegie Hall)" "Written by Francesco Paolo Tosti
and Gabriele d'Annunzio
© Universal Music - MGB Songs on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Luciano Pavarotti, John Wustman
Courtesy of Universal Music B.V.
under license from Universal Music Enterprises"
"The Tales of Hoffman: Barcarolle" "Composed by Jacques Offenbach
60
Performed By: Budapest Philharmonic Orchestra, Janos Sandor
Courtesy of Naxos of America"
"La Mia Canzone Al Vento" "Written by Cesare Andrea Bixio (SIAE)
and Cherubini Bixio (SIAE)
Courtsey of Bixio Cemsa Edizioni Musicali SRL
o/b/o Bixio Music Group, Ltd. (ASCAP)
Perfomed by Luciano Pavarotti
Conducted by Leone Magiera
Courtesy of Fondazione Luciano Pavarotti"
"Samson et Dalila, Op. 47: Mon c?ur s'ouvre à ta voix (Instrumental)" "Written by Camille
Saint-Saëns
Performed by André Kostelanetz; New York Philharmonic Orchestra
Courtesy of Sony Classical
By arrangement with Sony Music Entertainment"
"The 4 Seasons: Autumn: I" "Written by Antonio Vivaldi
Performed by Tianwa Yang, Ensemble Tianwa Yang, Gerd-Uwe Klein
Courtesy of Naxos of America"
"Tosca: E lucevan le stelle" " Written by Giacomo Puccini
Performed by Ines Salazar, Luciano Pavarotti, Juan Pons, and Marcel Seminara with
Orchestra e Coro del Teatro dell'Opera
Conducted by Placido Domingo
Courtesy of RAI and Teatro dell'Opera di Roma"
"Subtle Body" "Written by Steven Cobby and David McSherry
Performend by Fila Brazilia
Courtesy of Phoenix Music International Limited "
Stradella: "Pietà, Signore" "Written by Alessandra Stradella
Performed by Luciano Pavarotti, John Wustman
Courtesy of Decca Music Group Limited
under license from Universal Music Enterprises"
"Nessun Dorma - Turandot" "Written by Giacomo Puccini, Giuseppe Adami
and Renato Simoni
© Universal Music - Careers
on behalf of Casa Ricordi Srl. (BMI)
and Universal Music - MGB Songs
61
on behalf of Casa Ricordi Srl. (ASCAP)
Performed by Luciano Pavarotti & Orchestra del Teatro dell'Opera di Roma & Orchestra del
Maggio Musicale Fiorentino
Conducted by Zubin Mehta
Courtesy of C-Major Entertainment
and Decca Music Group"
"O Sole Mio" " Written by Giovanni Capurro, Eduardo Di Capua
and Alfredo Mazzucchi
© Universal Music - MGB Songs on behalf of Universal Music Publishing Ricordi Srl. (ASCAP)
Performed and recorded by MATTER
Dan Pinnella, Ric Markmann, Chris Wagner
and Craig Eastman"
FOR A COMPLETE LIST OF CREDITS, VSIT WWW.PAVAROTTIFILM.COM
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