In his hometown of Modena, Italy, Luciano Pavarotti was laid to rest Sept. 9 at a funeral that attracted more mourners than any other commemoration in Italy since Pope John Paul II's death two years ago. The funeral for the tenor, who died of pancreatic cancer Sept. 6, was broadcast on RAI state TV, and brought together a group of friends and admirers that spanned from Bono to former United Nations secretary general Kofi Annan to Italian prime minister Romano Prodi. ¶ The turnout came as little surprise to those who knew the singer. " Pavarotti and I actually used to argue about who was more globally famous: him or the Pope," says Chris Roberts, president of Universal Classics and Jazz International and chairman of Universal Classics Group (US), the label group that includes Decca, Pavarotti s 40 -year recording home. If The tenor conquered the world's most prestigious opera houses and the hearts of pop music lovers. In the wake of his passing, media around the world haven't been able to resist the opportunity to speculate about who might be "the next Pavarotti." (For a roundup of candidates, see story, page 34.) Quite possibly, no one. Pavarotti had al- Who can fill the shoes of-or line coffers ready been a legend for decades within clas- like -an artist who took in more than $70 mil- sical music before the early '90s, when the lion from a mere 38 live performances that Three Tenors made him ubiquitous. And were reported to Billboard Boxscore between while some within the current crop of 1990 and 2005? Who else has enough draw to charismatic, talented young singers might be featured on more than 110 recordings (sell- already have something of Pavarotti's stature ing more than 12.9 million copies since within the relatively limited realm of opera, Nielsen SoundScan began tracking U.S. sales at this point their overall influence and pop- in 1991), or claim 18 No. 1 titles on Billboard's ularity doesn't reach similar heights of pop Top Classical Albums chart? In more intangi- culture megastardom. ble terms, are there performers who can bridge "I don't believe there's another classical artist the chasm that generally exists today between who can compare with Pavarotti," Universal the worlds of pop culture and "art" music the Classics' Roberts says. "To say what singer, or way Pavarotti did? even what tenor, might step into his shoes is And given the more hardened dividing lines an impossible question." among "classical," "crossover" and "pop" music, Opera's Top Sellers Using, as a qualifying factor, titles containing at least three core opera selections, these albums have moved the most units since the advent of Nielsen SoundScan in 1991. AR1öIS um LABEL UINIS 1. Carreras, Domingo, Pavarotti "!n Concert" (London- Sire /Universal(IassiaGroup) 1,874,000 2. Carreras, Domingo, Pavarotti (Mehta) "The 3 Tenors in Concert" (Atlantic/AG) 1,472,000 3. Andrea Bocelli "Aria-The Opera Album" (Philips /UniversalClasva Group) 1,371,000 4. Andrea Bocelli "Viaggio ltaliano" (Philips /Universal Classics Group) 884,000 5. Andrea Bocelli "Verdi" (Philips /Universal Classics Group) 756,000 6. Russell Watson "The Voice" (Decca/Universal Classics Group) 402,000 7. Carreras, Domingo, Pavarotti (Levine) "The 3 Tenors: Paris 1998" (Atlantic/AG) 309,000 "Favorite Arias by 8. Carreras, Domingo, Pavarotti World's Favorite Tenors" (Sony Classical MDK /Sony Music) 256,000 9. Cecilia Bartoli "Mozart Portraits" (London- Sire /Universal flash( Group) 175,000 10. Amici Forever "The Opera Band" (RCA Vidor) 173,000 =2 BI__BDARD SE,TENB=R 29, 2007 www.americanradiohistory.com.