London.

January 11 saw the first of four Toscas in what was widely expected to be Luciano Pavarotti's final run at the Royal Opera House. Last-minute doubt was cast on his availability due to the death of his eighty-six-year-old mother late in the rehearsal period; but the tenor traveled briefly to Italy to be with his family, then stoically returned to London for the umpteenth revival of this venerable production. He dedicated his performance as Cavaradossi on this occasion to his mother's memory.

And of course an occasion was what the evening was. As beloved by the traditional opera audience as he is celebrated among the wider public, the sixty-five-year-old tenor was warmly received in the house where he made his British debut back in 1963, replacing Giuseppe di Stefano as Rodolfo in La Boheme. But what many had anticipated to be an evening of pure nostalgia turned out to be more rewarding.

Though he never has been renowned as an actor, Pavarotti connected intelligently with the role of Cavaradossi. In John Cox's discreetly tailored production, there was genuine by-play between the divo and his fellow singers. Though distinctly laidback for a dangerous firebrand, his revolutionary painter was humorous in Act I, credibly volatile -- even brave -- in Act II. The death scene was cannily managed, with the tenor leaning flat against a wooden board and then tipping over sideways for a collapse onto some handy, presumably not overly hard rocks.

Vocally, too, he came through the evening unscathed. All the high notes were approached with care, and none of them failed him. The Act II cries of "Vittoria!" were not held long, but they rang out loud and clear. By Act III, Pavarotti seemed thoroughly relaxed, his voice well oiled, his characterization positive. In the second verse of "E lucevan le stelle," in particular, the combination of his still-juicy tone, firm line and immaculate diction came together in a magical few minutes of classic Italian tenor singing. Whatever his current limitations, it would be mean-spirited not to grant Pavarotti greatness at moments such as these.

Inevitably the opera revolved around him. Carol Vaness sang the role of Tosca in what was effectively a performance of Puccini's "Cavaradossi." She looked nervy and at times uncomfortable, but ...