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From
Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing
by Jerome Hines (1982):
Pavarotti on the passaggio:
“Now, let’s get down to vocal technique,” I [Hines] said. “What part does imitation play in the learning process?”
“From a recording, or by singing for someone,” Luciano said, “you can demonstrate the critical sound…the crucial part of the voice…which is the passaggio. By hearing you become aware of the change of sound – let’s call it covering. If you don’t dot his, the voice becomes white, white, and whiter…and more tired…and you don’t reach the end of the performance. If you cover the sound, the position and the voice are solid.”
“Now this passaggio,” I cut in, “is the transition from the upper middle voice to the high voice, and I know that students are interested in your approach since you have such a flawless passaggio; it is so smooth a change one is not aware of it.”
It took me six years of study,” he said, “and one must be convinced of its importance from the first day…never change ideas. You know, the first five or six months it is very depressing because it does not come out right, and you become cyanotic, red in the face. Then some students begin to think this approach is wrong, and they try the other way, but it will never bring them security of voice.”
Pavarotti on judging himself:
“Do you think it is important always to have somebody around who knows your voice…to act as a second ear?”
“To judge us? I think, to be honest with you, the best judge of me is myself. I know very well what I am doing. Exactly! Because I am very honest. You must be very honest…almost cruel. I learned this after many years of career. They come to me and say, ‘Tonight you were fantastic.’ I say, ‘How was that note?’ ‘Oh, well…last performance was better.’ You see? It was terrific, but…the other performance was better…I understand…”
From
Divo: Great Tenors, Baritones and Basses Discuss Their Roles
by Helena Matheopoulos (1986):
Luciano Pavarotti on high notes in singing:
“Top notes are like the goals in football. If you can do them, fine. If not, no matter. You can still be great tenor without the high C. Caruso didn’t have it. Neither did Tito Schipa. Schipa didn’t even have a particularly beautiful voice. But he was a great singer. His musicality was so great that it enabled him to override every handicap. Listening to his records, you can hear him guiding his voice along, like a skipper steering his ship through all kinds of treacherous waters in an exemplary way that should be a lesson to us all. He had something far more important, twenty time more important, than high notes: a great line.”
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