The museum 価値（がある） singing about: 調査するing Pavarotti's home in Modena, which is winning rave reviews

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For オペラ lovers, he will for ever be Rodolfo, the poet in La Boheme ― the 役割 which first made his 指名する. For football fans, he is one third of The Three Tenors, who sang together on the eve of the 1990 World Cup.

Pop aficionados will know him for his 共同s with Sting, the Spice Girls, Bono and Elton John. Luciano Pavarotti, King of the High Cs, was also a man of the people; the singer ― in publicists’ parlance ― who brought オペラ to the 集まりs.

In 前進する of the 解放（する） of Ron Howard’s 文書の about him next week, I went to Modena to visit his last home, which has been a museum to Pavarotti’s memory since 2015.

国家の treasure: The late Italian オペラ singer with his wife Nicoletta

In this city in Northern Italy (about a 45-minute 運動 from Bologna) Luciano Pavarotti was born in 1935.

The house, however, 完全にするd in 2005, stands on the 場所／位置 where Pavarotti met and fell in love with the young Nicoletta Mantovani ― ‘Our love nest,’ as she calls it, the 苦痛 of her loss still palpable.

‘I was a student looking for work,’ explains Mantovani of their first 会合, as we sit in what used to be their living room. ‘I （機の）カム, and was directed to the stables, where I 設立する Pavarotti.

‘異常に, because he was always surrounded by people, he was alone, and he started talking to me. It was 運命.’

Their 関係 blossomed and in 2003 she became his second wife. They married in the オペラ house of Modena, which now 耐えるs his 指名する. Pavarotti’s home, which he conceived, 明らかにする／漏らすs both his tastes and character ― his straightforward, sunny temperament 反映するd in the rustic, untreated 支持を得ようと努めるd 床に打ち倒すs, exposed 木造の beams, enormous skylight and vivid colours on the 塀で囲むs.

有望な yellows predominate; reds (reminiscent of 行う／開催する／段階 curtains) cloak the stairwell. The 塀で囲むs of his sitting room are also covered with 絵s in 最初の／主要な colours, 調印するd ‘Lupa’ ― his own work ― in a rare example of life imitating art.

‘Someone gave him a canvas and box of paints in the Eighties, after a 業績／成果 of Tosca,’ says Mantovani. ‘He started 絵 and couldn’t stop ― not eating for a week, to get into the part.’

異常に, Pavarotti kept the 衣装s from his repertoire of 29 役割s, and several are on 陳列する，発揮する upstairs. As is a 閣僚 of letters from the 広大な／多数の／重要な and the good: from Princess Diana to Hillary Clinton, Frank Sinatra to Spain’s King Juan Carlos, Bruce Springsteen to Gianni Versace and Kofi Annan.

Yet it is not these, nor his 500-加える awards, nor his platinum レコードs, nor even （映画の）フィート数 of his 広範囲にわたる 人道的な work to raise money for 難民s that is most moving.

The house in Modena, above, has been a museum to Pavarotti's memory since 2015

Rather, it is the personal items; those trivial 反対するs of daily life, such as the collection of 襲う，襲って強奪するs with dog 長，率いるs for 扱うs or the army of little matryoshka dolls.

Most intimate of all is the bedroom where he died, in 2007, family photographs still でっちあげる，人を罪に陥れるing the bed, his 蓄える／店 of trademark oversized silk scarves and パナマ hats still 明白な in the closet.

This eclectic collection of personal 所持品 remain as they were, 申し込む／申し出ing a rare insight into the man himself: The old music box, library of 得点する／非難する／２０s and 調書をとる／予約するs (含むing an annotated 得点する／非難する／２０ of Lucia di Lammermoor and a biography of his idol, Mario Lanza); the burr walnut Steinway where he worked with a ピアニスト and gave 解放する／自由な lessons to students; photos with Bono and the ‘other two’ tenors.

Interspersed with his 絵s are letters and fragments of autographed 得点する／非難する／２０s by Verdi and Puccini.

Overlooking all this, a mannequin stands dressed in the maestro’s tailcoat ― a ghostly 思い出の品 of his 6ft 2in presence. It comes 完全にする with the trademark white handkerchief ― a 策略 工夫するd, によれば the new film, to keep his 手渡すs 占領するd when 成し遂げるing.

My favouri te items are on the （米）棚上げする／（英）提議する where he used to play the card game Briscola.

On it are 屈服する 関係, the size of small bats; curved アイロンをかける nails which the superstitious singer would touch for luck before a 業績／成果; and, best of all, his diary, for 地位，任命する-業績／成果 self-査定／評価. ‘承認する,’ it mostly reads.

Neither in the film, nor in the house, is there any hint of another 味方する to Pavarotti ― spats with オペラ houses, 告発（する），告訴（する）／料金s of 税金 回避, or capricious 需要・要求するs. The movie, like the house, 選ぶs to portray a generous, life?断言するing man, blessed with a unique 始める，決める of 声の chords. As the 伝説の conductor Carlos Kleiber put it: ‘When Pavarotti sings, the sun rises on the world.’