He soon gained fame due to the power and strength of his voice. The young tenor earned valuable experience and significant recognition while touring on the invitation of soprano Joan Sutherland, making his 1965 U.S. debut in Miami, Florida on her recommendation. His position was solidified in the years between 1966 and 1972, during which Pavarotti first appeared at Milan's seminal La Scala, at other major European houses, and, in 1968, at NYC's Metropolitan Opera. He received great acclaim, particularly working well with Joan Sutherland.
By the mid-70s, the tenor became known worldwide, famed for the brilliance and beauty of his tone, especially into the upper register. His "high C" became one of his trademarks. The late 70s and 80s saw Pavarotti making significant appearances in the world's opera houses and establishing himself as one of the great singers of the era.
Popular stardom came at the 1990 World Cup in Italy with the performances of "Nessun Dorma" (from Turandot) and as one of The Three Tenors in their famed first concert held on the eve of the final match of the tournament (repeated at later Cups). Pavarotti sang together with fellow star tenors Plácido Domingo and José Carreras and brought to the much wider audience hits previously confined to the opera world. Appearances in advertisements and with pop icons in concerts around the world furthered his influence. Pavarotti always maintained his identity as an opera star, unlike many crossover artists.
The later years brought a decline in ability to perform on stage due to a weight gain and lack of mobility. Pavarotti's final appearance in an opera was at the Met in March 2004. The 2006 Winter Olympics in Turin, Italy saw him performing for the last time. Pavarotti sang Nessun Dorma, with the crowd as its Chorus, and got a thunderous standing ovation. On September 6, 2007, he died at home in Modena from pancreatic cancer.
La donna E'mobile
Luciano Pavarotti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un amabile
Leggiadro viso
In pianto e riso
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
È sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E... di pensier
Luciano Pavarotti's song La donna è mobile is one of the most famous arias in the world, featured in the opera Rigoletto by Giuseppe Verdi. As an aria, the song is sung by the Duke of Mantua, who is a womanizer and charmer that is always on the lookout for love. He sings about the fickleness of women, stating that they are flighty, with ever-changing accents and thoughts that are unpredictable like the wind. The Duke also sings about his love for women, how he can't stop himself from falling for their beautiful faces and how men who trust women are always miserable in the end.
The lyrics are meant to encapsulate the Duke's character and the era in which the opera takes place. The song is written in Italian and has a beautiful melody that adds to its appeal. The use of metaphors, such as comparing women to feathers in the wind, makes the message of the song more powerful and memorable.
The lyrics are a reflection of the stereotypes surrounding women's behavior during the time the opera was written. Women were often seen as deceitful, unreliable, and powerless beings who could not be trusted to make good decisions. The Duke's words are a reflection of his own fear of being hurt and his belief that women are not to be trusted. However, his portrayal of women is not the only interpretation of the lyrics, and many other composers have adapted the song to be a feminist anthem for women's freedom and power.
Line by Line Meaning
La donna è mobile
A woman is fickle and unpredictable
Qual piuma al vento
Like a feather in the wind, she changes direction frequently
Muta d'accento
Her tone and mannerisms change suddenly and often
E di pensiero
Even her thoughts and emotions are constantly changing
Sempre un amabile
She always puts on a charming exterior
Leggiadro viso
With a delicate and beautiful face
In pianto e riso
Whether in tears or laughter
È menzognero
She is deceptive and deceitful
È sempre misero
It is always a miserable experience
Chi a lei s'affida
For anyone who trusts her
Chi le confida
Whoever confides in her
Mal cauto il core
Their heart is not well-guarded
Pur mai non sentesi
One can never feel
Felice appieno
Completely happy
Chi su quel seno
Whom on that bosom
Non liba amore
Does not taste love
E di pensier
And in thoughts
E di pensier
And in thoughts
E di pensier
And in thoughts
Writer(s): Verdi, David Arch, Piave
Contributed by Emma H. Suggest a correction in the comments below.
@karimnahdi4995
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero.
Sempre un a mabile
Leggiadro viso
In pianto o in riso
è mensognero.
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier!
E' sempre misero
Chi a lei s'affida
Chi a le confida
Mal cauto il core!
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore!
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier!
@samuelegovoni2732
The woman is changing
As a feather in the wind
She changes her word and her thought
Always a lovely graceful face
The crying and the smiling
Are false
The woman is changing
As a feather in the wind
She changes her word and her thought and her thought and her thought
Is always miserable
The one who trusts her
The one who confides to her, incautious heart!
Nevertheless is never completely happy
The one who, on that breast, doesn't offer up a libation to Love The woman is changing
As a feather in the wind
She changes her word and her thought and her thought and her thought
More or less guys 😊
@whatever
"La donna è mobile" translates to "Woman is fickle"
Verdi was red pilled lol, full lyrics in English:
Woman is flighty.
Like a feather in the wind,
she changes in voice
and in thought.
Always a lovely,
pretty face,
in tears or in laughter,
it is untrue.
Woman is fickle.
Like a feather in the wind,
she changes her words
and her thoughts!
Always miserable
is he who trusts her,
he who confides in her
his unwary heart!
Yet one never feels
fully happy
who from that bosom
does not drink love!
Woman is fickle.
Like a feather in the wind,
she changes her words,
and her thoughts!
@leonardomonti7138
Italian lyrics:
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
È sempre misero
Chi a lei s'affida
Chi le confida
Malcauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
@vivettariggio3148
La donna mobile
Qual piuma al vento
Muta d'accento
E di pensiero.
Sempre un a mabile
Leggiadro viso,
In pianto o in riso,
Mensognero.
La donna mobile
Qual piuma al vento,
Muta d'accento
E di pensier,
E di pensier,
E di pensier!
E' sempre misero
Chi a lei s'affida,
Chi a le confida,
Mal cauto il core!
Pur mai non sentesi
Felice appieno
Chi su quel seno,
Non liba amore!
La donna mobile
Qual piuma al vento,
Muta d'accento
E di pensier,
E di pensier,
E di pensier!
Questo è quello giusto
@mstheman10
Fun fact, when the original opera was being rehearsed in 1850, the composer made everyone promise that they wouldn't hum or whistle this song, since he knew how catchy it was. The next day basically everyone knew about it because people couldn't stop humming it outside of rehearsal.
@RuanMateusSW
cool, didn't know that.
@puertoricanpapi1356
Bullshit
@miggai545
Its gotten caught in my head
@luisescalanteiii4805
It got leaked 😳
@marty1990
Luciano Pavarotti could of simply belched after a meal and it would of sounded devine. R.i.p you legend
@karlbraun9564
RIP Luciano Pavarotti 1935-2007. The greatest tenor of all times.
@jewelmarkess
What about Del Monaco or Corelli? Or Jussi Bjorling? Fritz Wunderlich?
@bubu5264
@@jewelmarkessLuciano non ha mai avuto eguali
@jewelmarkess
@@bubu5264 Corelli? Bjorling? Bergonzi? E poi, “mai” è troppo lungo. Non possiamo ascoltare i grandi tenori dell’Ottocento. Neanche possiamo comparare con Caruso dato che la qualità delle grabazioni è mala. E poi, Pavarotti era eccelente nella sua categoria vocale, quella del tenore lirico, ma ce ne sono molte opere che non cantò mai come Mozart o Bizet. O non poteva cantare come, per esempio, Wagner. Per quanto riguarda, il repertorio lirico italiano, la voce del tenore drammatico come Del Monaco era più adatta ai ruoli come Canio o Calaf.