According to an article in the 31 Oct 1981 issue of Screen International, British producer Peter Fetterman began developing multiple features after moving from London, England, to Los Angeles, CA. His initial idea focused on Italian opera tenor Enrico Caruso, but the producer anticipated difficulties selling the project to investors. After recalling Anne Piper’s 1961 novel, Yes Giorgio, Fetterman decided to change the story to involve a “strong female role,” and received interest from opera singer Luciano Pavarotti, and his manager, Hebert H. Breslin, who is credited as an executive producer. After rejections from multiple studios, Fetterman met with Metro-Goldwyn-Mayer (M-G-M) executive David Begelman, whose love of opera and encouragement from Pavarotti’s sudden popularity in the U.S., prompted him to approve the project. A 12 Jun 1980 DV article noted that Fetterman convinced Begelman to invest $7-8 million toward the film’s projected budget. Screen International noted that Fetterman then spent a month in Italy with Pavarotti and screenwriter Norman Steinberg during pre-production.
       On 5 Jun 1980, HR announced that Pavarotti had agreed to make his motion picture debut in the film, which would also mark M-G-M’s first new project since becoming a publicly-owned corporation. Although the studio did not expect to complete the script for another three to four months, principal photography was initially scheduled for May 1981, with a Jun 1982 release under United Artists. At this stage of preproduction, the story more closely resembled Piper’s novel: Pavarotti would portray an Italian opera professor who, while teaching a singing course in the U.S., meets an “indomitable” American woman.
       The 10 Dec 1980 HR stated that Franklin J. Schaffner had joined the project as director. The item listed Stanley O’Toole as executive producer, while a 7 Apr 1981 Var brief also named Alain Bernheim Productions executive Faye M. Nuell in the same position, but neither are credited in the final film. As reported by the 26 Jun 1981 HR, actor Lou Cutell had been cast, but he is not listed among the onscreen credits.
       Although 28 Jan 1981 and 15 May 1981 HR briefs suggested that Lesley-Anne Down and Sigourney Weaver, respectively, were possibly considered for the role of “Pamela Taylor,” the 28 May 1981 DV confirmed the casting of Kate Jackson. A few days later, the 3 Jun 1981 DV reported that Jackson left the project after requesting script changes, with Angie Dickinson being named as her potential replacement. A 10 Jun 1981 DV news item announced that Kathryn Harrold was cast instead.
       The 24 Jun 1981 Var indicated that prior to the official start of production, Pavarotti’s 13 Jun 1981 benefit concert at the San Francisco, CA, Civic Auditorium was filmed for inclusion in the picture. An 18 Jun 1981 HR article noted that M-G-M paid $25,000 for the use of the San Francisco Opera orchestra, contributed $5,000 to the benefit, and decorated the venue. The 23 Jul 1981 DV stated that production used six cameras to film the event. According to the 17 Jun 1981 Var, Pavarotti was next scheduled to perform a free concert at Boston, MA’s Hatch Shell outdoor auditorium on 26 Jun 1981 alongside the Opera Company of Boston Orchestra and Miami Opera conductor Emerson Buckley, who first brought Pavarotti to the U.S. over ten years earlier. The show, however, was rescheduled for 27 Jun 1981, due to anticipated traffic delays caused by a Boston Red Sox baseball game taking place that same night. Prior to the performance, the Yes, Giorgio crew was expected to arrive in the city 20 Jun 1981, to film scenes at the Copley Plaza Hotel and Faneuil Hall until 1 Jul 1981. According to a 13 May 1981 LAHExam article, filmmakers hoped to complete production prior to the threatened 1 Jul 1981 Directors Guild of America (DGA) strike, since any delays could indefinitely suspend production, due to Pavarotti’s five-year concert commitment beginning in the fall of that year.
       Various contemporary sources, including 14 Aug 1981 HR production charts, confirmed that principal photography began in Boston on 22 Jun 1981. The 25 Jun 1981 HR reported that filming in the city had been extended until 7 Jul 1981. A 23 Jul 1981 DV article stated that the Metropolitan Opera in New York City approved plans for the production to film there in Aug 1981. However, the interiors for the Turandot opera performance would be shot on M-G-M’s Stage 27 in Culver City, CA, where filmmakers built a recreation of the Met stage. In addition, the crew built a kitchen set used for the food fight scene on the studio’s Stage 20.
       A 9 Sep 1981 M-G-M press release in AMPAS library files indicated that filming also took place in Napa Valley, CA, and Rome, Italy, before moving to the small village of Capodimonte, Italy, 9 Sep 1981, to complete principal photography. An earlier 26 Aug 1981 Var brief indicated that Pavarotti, Schaffner, and director of photography Fred J. Koenekamp were originally scheduled to arrive in Capodimonte on 4 Sep 1981, to begin their five-day shooting schedule on 7 Sep 1981. According to Screen International, production lasted a total of twelve weeks.
       A 12 Aug 1981 Var news item stated that Miriam Nelson choreographed a dance number for Pavarotti and Harrold, but she does not receive onscreen credit.
       The 6 Oct 1981 HR stated that the budget was estimated at $15 million, with an additional $10 million for a publicity campaign promoting a May 1982 U.S. release. The 8 Sep 1982 Var later listed the total production cost at $18 million.
       Nearly a year later, a 8 Sep 1982 Var brief announced that the world premiere AFI benefit screening was scheduled for 19 Sep 1982, at the Kennedy Center in Washington, D.C. The 22 Sep 1982 HR noted that the New York City premiere took place that day at the Ziegfield Theatre. According to the 6 Oct 1982 Var, an additional fundraising premiere was held in Boston on 30 Sep 1982. The 3 Sep 1982 HR noted that Yes, Giorgio was expected to open 24 Sep 1982 in New York City, Los Angeles, Washington, D.C., Toronto, Canada, and San Francisco, before expanding to national release 1 Oct 1982.
      Opening credits are preceded by the phrase: “This story is dedicated to lovers everywhere.” In end credits, “The Producers extend their thanks to: Massachusetts Film Commission—Mary Lou Crane; Metropolitan Opera—Jane Hermann, Joe Clark; San Francisco Opera Orchestra—Kurt Adler; Alitalia Airlines; Baskin Robbins; Jewelry Supplied by Tiffany & Co.”