Luciano Pavarotti’s longtime manager and friend tells all. All .
The King and I is the story of the thirty-six-year-old business relationship between Luciano Pavarotti and his manager, Herbert Breslin, during which Breslin guided what he calls, justifiably, “the greatest career in classical music.” During that career, Breslin moved Pavarotti out of the opera house and onto the concert (and the world) stage and into the arms of a huge mass public. How he and Pavarotti changed the landscape of opera is one of the most significant and entertaining stories in the history of classical music, and Herbert Breslin relates the tale in a brash, candid, witty fashion that is often bitingly frank and profane. He also provides a portrait of his friend and client—“a beautiful, simple, lovely guy who turned into a very determined, aggressive, and somewhat unhappy superstar”—that is by turns affectionate and satirical and full of hilarious details and tales out of school, with Pavarotti emerging as something like the ultimate Italian male. The book is also enlivened by the voices of other players in the soap opera drama that was Pavarotti’s career, and they are no less uncensored than Herbert Breslin. The last word, in fact, comes from none other than Luciano Pavarotti himself!
The King and I is the ultimate backstage book about the greatest opera star of the past century—and it’s a delight to read as well.
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|Title of eBook: The King and I|
|Release Date: 10-19-2004|
|Allowed Countries (hover)|
|Publisher: Crown Publishing Group|
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The King and I
FROM CHRYSLER TO CARNEGIE HALL
Midlife Crisis: My Start in the Business
Here's how not to begin your brilliant professional career. In 1957, I was thirty-three years old. I was married, with a child on the way. And I was working as a speechwriter for the Chrysler Corporation. In Detroit, Michigan.
Detroit, Michigan. Who would even want to think about it? Misery.
People suppose that to succeed in the classical music business you should be very highly directed. You should have experience as a performer, so you know what it's like on the other side of the footlights. You should get your foot in the door early and work in a number of different areas so you get to know all sides of the performing arts. Ultimately, you'll gather the experience you need to set up your own company and manage top-level artists.
Well, that's all bullshit.
I came out of nowhere. I was smart. I was full of energy. And I had no idea what I wanted to do with my life. All I knew was that I loved music.
How much did I love music? I'd been obsessed with opera since I was eight years old. The beauty, the glamour, the excitement, and the tremendous voices pulled me into another world. I had a huge collection of records I listened to constantly. I had scrapbooks of the performances I'd seen and the artists I loved. Whatever else was going on around me, opera served as my own private support system and gave me tremendous sustenance. So much sustenance, in fact, that it became my life.
The problem I had when I was thirty-three was that it had nothing to do with my life. Especially not my life in Detroit. There's a little bit of music in Det