Young Luciano Pavarotti’s 1964 performance of “La donna è mobile” from Verdi’s Rigoletto is a brilliant example of his burgeoning talent and vocal mastery that would later make him one of the most celebrated tenors in history. This aria, sung by the Duke of Mantua, is one of opera’s most famous melodies, known for its lively rhythm and deceptively light-hearted tone.
Pavarotti’s youthful voice shines with clarity and effortless brilliance, perfectly suited to the Duke’s character—a charming yet frivolous nobleman. His impeccable technique is evident in his smooth phrasing, precise diction, and dynamic control. Even at this early stage in his career, Pavarotti’s signature warmth and ringing high notes are on full display, captivating the audience with every note.
The aria’s playful melody and Pavarotti’s charismatic delivery bring an irresistible charm to the performance. His interpretation captures both the superficial joy and underlying cynicism of the Duke, adding depth to the character while maintaining the aria’s infectious energy.
Accompanied by a lush orchestral arrangement, the 1964 rendition of “La donna è mobile” not only highlights Pavarotti’s natural vocal gifts but also hints at the extraordinary career that lay ahead. This performance remains a testament to the timeless appeal of Verdi’s music and the unique artistry of a young tenor destined for greatness.
Lyrics
Pavarotti
La donna è mobile
qual piuma al vento,
muta d’accento e di pensiero.
Sempre un amabile,
leggiadro viso,
in pianto o in riso,
è menzognero.
La donna è mobile
qual piuma al vento,
muta d’accento e di pensier.
e di pensier
e di pensier
È sempre misero
Chi a lei s’affida,
chi le confida, mal cauto il core!
Pur mai non sentesi
Felice appieno
Chi su quel seno non liba amore!
La donna è mobile
qual piuma al vento,
muta d’accento e di pensier.
e di pensier
e di pensier
e di pensier.
