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: info@mongrelmedia.com

www.mongrelmedia.com

Publicity

Bonne Smith

Star PR

Tel: 416-488-4436

Twitter: @starpr2

E-mail: starpr@sympatico.ca

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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

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AP ARCHIVE

ARENALPAL

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BETTMANN/GETTY IMAGES

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C-MAJOR ENTERTAINMENT

CALTEX

CAROLINE CRAWFORD/SAN FRANCISCO OPERA ARCHIVES

CARSON FOOTAGE SUPPLIED COURTESY OF CARSON ENTERTAINMENT GROUP

CERTAIN ARCHIVAL MATERIAL PROVIDED BY TIBOR RUDAS PRODUCTIONS LLC

AND THE RUDAS FAMILY ESTATES

CLASSIC FM

COURTESY CNN

COURTESY OF JANUS FILMS

COURTESY OF KQED AND SAN FRANCISCO OPERA

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43

DECCA/TERRY ONEILL

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EFOOTAGE

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FONDAZIONE LUCIANO PAVAROTTI

FOOTAGE COURTESY OF ABCNEWS VIDEOSOURCE

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FREMANTLEMEDIA

GERT VON BASSEWITZ

GETTY IMAGES

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SHERMAN GRINBERG LIBRARY/GRINBERG, PARAMOUNT, PATHE NEWSREELS"

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44

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HISTORIC FILMS

INTERFOTO/ALAMY STOCK PHOTO

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NUOVA RETE

45

OXFORD FILMS

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STOCK MEDIA PROVIDED BY MASSIMODALLAGLIO/POND5

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STUDS TERKEL RADIO ARCHIVE, COURTESY OF CHICAGO HISTORY MUSEUM AND

WFMT

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TEATRO DELL'OPERA DI ROMA

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46

TRINITY MIRROR/MIRRORPIX/ALAMY STOCK PHOTO

ULLSTEIN BILD DTL./GETTY IMAGES

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VIDEOBLOCKS

VTVC VIRTUAL TELEVISION COMPANY LTD

WARNER/CHAPPELL MUSIC

WAZEE DIGITAL

ZUMA PRESS, INC./ALAMY STOCK PHOTO

LA BOHÈME © 1977 PROVIDED BY THE METROPOLITAN OPERA

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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

GIANMARCO CHIEREGATO/PHOTOMOVIE

GIORGIO TIEGHI

GIOVANNI CONSOLI

GIUSEPPE DAMIANI

GRANATA/UPPA/PHOTOSHOT

JUDITH KOVACS

KEITH MEYERS

MAURO STRADI

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"

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