Welcome to

                       Mario Lanza, Tenor

The American lirico spinto tenor Mario Lanza (1921-1959) possessed, in the opinion of Plácido Domingo, “one of the truly great natural tenor voices of the past century – a voice of beauty, passion, and power.”   

In a brief career that included over 150 concerts and acclaimed stage performances as Fenton in Nicolai's comic opera The Merry Wives of Windsor and Pinkerton in Puccini's Madama Butterfly, Mario Lanza was also one of the most successful film and recording stars of the 1950s.  Signed to a seven-year contract by MGM Studios in 1947, Lanza believed at the time that he would be able to combine films with an operatic career.  It was not to be.  After the enormous success of The Great Caruso in 1951, and increasingly insecure about the manner in which he had achieved his fame, Lanza demanded higher artistic standards in his films, clashing with studio executives.  In 1952 his MGM contract was terminated.  His self-confidence badly undermined and his finances battered, Lanza sought refuge in an erratic lifestyle.  Although continuing with his concert and film career – and still planning to return to the operatic stage – his health steadily deteriorated, culminating in an apparent heart attack in Rome on October 7th, 1959.  At just 38 Mario Lanza was dead.  His friend and colleague the Metropolitan Opera soprano Licia Albanese would later say of him, "He had everything that [a great singer] needs: the voice, the temperament, perfect diction."                  

       

This site was created both to promote the legacy of Mario Lanza and to challenge the often outrageous myths that have long surrounded the man, his voice, and his artistry. We celebrate an extraordinarily gifted operatic tenor. At the same time, this is not a shrine for those who think that the man could do no wrong.  Here, we discuss Lanza candidly, acknowledging the good, the great and the bad in his recorded legacy, as well  as the man's personal strengths and shortcomings. Related topics (other singers, favourite operas, etc) are welcome too, as we recognize that it's neither possible nor desirable to discuss the same artist on a constant basis.  

Our site contains a large number of essays and articles, a forum, and an assortment of photos and rare home & concert recordings. Those unacquainted with Lanza's life and career may find the essay Mario Lanza: A Radical Reassessment a useful introduction to the tenor.  

If you're genuinely interested in Mario Lanza and would like to take part in amicable, meaningful discussion on his singing – regardless of whether you're a newcomer to his recordings or a lifelong aficionado – then you're cordially invited to join our group.                   

                                                                                         – Derek McGovern