Live from London: the 24 Italian Songs and Arias selections
leeann
of Mario Lanza's Albert Hall concert--coming right after the opening
Lamento di Federico--and there are some really informative and
interesting threads on the Lamento throughout the GoogleGroup.
But what about these selections from the basic Schirmer 24 Italian
Songs and Arias? I find them all compelling, although I first heard
Pieta Signore smack in the middle of the Christmas Album. Quite a
shock, and people seem agreed that its inclusion there is peculiar. It
grew on me with more appropriate placement on the Encore CD and Live
from London.
I suspect hearing these three pieces in concert, live, was rather
impressive, although from a few comments here, it seems that Pieta
Signore gets mixed reviews--and to the untutored ear, it's a bit hard
to tell if apparent falters or glitches are from Lanza himself or the
recording; Gia il Sole dal Gange, good comments; and Lasciatemi
morire--well, little's been said beyond a memorable post from Derek
from a concert-goer who felt that actually Lanza shouldn't have been
singing that selection, yet "the actual sound has a richness about
it."
I've listened to Richard Tucker present these pieces with period-
appropriate orchestration, and to my raw ear, it seems to me that his
emphasis is on technical delivery. Mario Lanza brings them to greater
life and meaning (as always). I'd love to know more about the hows and
why's of the selections themselves, about Lanza's including them in
his concert repertoire at this particular time--and more. Thanks. Lee
Ann
Derek McGovern
on his 1958 tour was that they'd all been part of his earlier concert
repertoire, and he simply wanted to stick to standard recital pieces
that he was familiar with. He certainly wasn't in a mood to be
adventurous with his repertoire at that point -- understandable,
really, when you consider he hadn't sung a full recital in six and a
half years. The German promoters wanted him to add another aria to his
programme, but he wasn't interested.
Still, Mario could hardly be accused of taking the easy route
(vocally) with his 1958 programme. It's very demanding. And it's
interesting that he never felt the urge to stick to the lighter, more
popular material. There must have been a lot of his fans at those
concerts who were expecting a couple of hours of Loveliest Night of
the Year-type ditties, rather than Scarlatti & friends, but all they
got of the commercial stuff was Because You're Mine as an encore.
Speaking of Scarlatti, I'd love to have heard Lanza singing his Su,
Venite a Consiglio -- another from the Schirmer book you mentioned.
Mario sang this song at his Honolulu concerts in 1950.
Tonytenor
here. I think it is interesting to note that, according to
Constantine Callinicos' book, THE MARIO LANZA STORY, Mario appears to
have been familiar with some other of the "Top 24 Italian Hits." On
pages 92-93 he discusses what he describes as as a "...typical
concert."
F. Cilea: Lamento di Federico (L'ARLESIANA)
G. Verdi: Celeste Aida (AIDA)
C. Monteverdi: Lasciatemi morire
A. Scarlatti: Gia il sole dal Gange
G. Pergolesi: Nina*
- Three Piano Solos -
Bizet: Agnus Dei
Verdi: La donna e mobile (RIGOLETTO)
- Intemission -
- Three Piano Solos -
E. Charles: The House On The Hill
E. Charles: My Lady Walks In Loveliness**
V. Giannini: Tell Me, O Blue, Blue Sky
S. Romberg: Softly As In A Morning Sunrise
V. Herbert: Thine Alone
(Notes: * - "Nina" is officially "attributed" to Pergolesi. Like much
of this Baroque composer's music, the actual authentication of his
authorship is in question.
** - "My Lady Walks In Loveliness" What a beautiful song. Delicate
but flowing, soaring lines and very romantic. It would have suited
the young Lanza voice perfectly. What a pity we've no recording of
it.)
In the thought that you might find it interesting, I've attached a
couple of links. Both are of the late tenor Cesare Valletti (quite a
different voice than Lanza's but a beautiful one none the less). The
first link is his reading of Pergolesi's "Nina." It is taken from a
1960 NYC Town Hall Recital. The second is "Lamento di Federico." It
comes from his Town Hall recital of 1959. He does not take the high B
at the end, although he was quite capable of it. That note is an
ossia and was first sung by Beniamino Gigli after asking the
composer's permission (ref. Gigli's autobiography). In all events,
enjoy.
Ciao,
Tony
http://www.4shared.com/file/216768579/32cebc4d/2-09_Tre_Giorni_Son_Che_Nina.html
http://www.4shared.com/file/216768769/28515962/1-22_Larlesiana__Lamenta_Di_Fe.html
> > Ann- Hide quoted text -
>
> - Show quoted text -
Derek McGovern
You inspired me to check out other singers' renditions of My Lady
Walks in Loveliness (which I'd never heard before), and I agree that
it would have suited the young Mario. It's interesting that he
continued to sing Charles's The House on the Hill, but not My Lady.
I'd love to have heard a live Lanza rendition of Celeste Aida! Of
course, he sang it at his third Hollywood Bowl appearance in 1949, but
only the duet from Rigoletto with Mary Jane Smith seems to have
survived.
I enjoyed the Valletti performances. I was familiar with his voice
from his 1957 Madama Butterfly recording with Anna Moffo, but I prefer
him here. Interesting that the audience started applauding before he'd
even finished the Lamento di Federico! Imagine how they might have
reacted if they were hearing Lanza's Albert Hall version :-)
Derek McGovern
(1895-1985), and I see that he produced the radio series Great Moments
in Music. That probably explains why Lanza sang Charles's House on the
Hill on that show.
> >http://www.4shared.com/file/216768579/32cebc4d/2-09_Tre_Giorni_Son_Ch...
> >http://www.4shared.com/file/216768769/28515962/1-22_Larlesiana__Lamen...
leeann
me, and those are two memorable numbers. Haven't yet found My Lady
Walks in Loveliness. (Tony, some time ago I ran across your upload of
the Lanza Sunday Night at the Palladium Concert on 4shared--thank you
ever so for that one as well!)
I would have LOVED to have a recording of Lanza doing Nina as well. I
seems as though the list of pieces we wish we had is sadly (and I
guess unproductively) quite long.
Since I first asked about these numbers, I've been exploring other
tenors' renditions. Pieta Signore seems recorded fairly often. It's
interesting to hear Gigli's ending--he goes higher. The other two
pieces--not so much (understanding that I'm a novice musical
researcher and rely on YouTube and Amazon a lot!).
But mostly, these pieces don't seem to be recorded very often. If
that's so, is there a reason?
I'm also wondering how you'd critique the Albert Hall recordings,
since that's what we've got. Understanding, of course, that Lanza must
have made adjustments for the venue and for the fact it was a live
concert rather than a studio recording.
It's so nice to have an active thread! Derek, I hope you're
recuperating and readjusting. All the best, Lee Ann
Armando
at all- too much vibrato and too many Gigli like mannerisms. If you
want to hear a great Lamento I suggest Di Stefano’s 1947 recording .
Derek McGovern
a very long one as well!
A few random thoughts:
I'd say the reason the two Charles songs haven't been recorded much is
that (sadly) they probably sound rather dated to contemporary ears.
Incidentally, have you heard Mario's live radio version of House on
the Hill (from Great Moments in Music)? He produces some ravishing
sounds on it. (I can't upload it for you right now, as it's currently
in a container sailing across the high seas -- hopefully towards
Korea! But someone else might be able to assist.)
How would I critique the Albert Hall recordings of these art songs?
Well, I actually quite like The House on the Hill (apart from the
obvious 'bum' note). Mario lightens his tone appropriately on it, and,
in fact, he doesn't sound all that different from his much earlier
performance, especially in the opening lines. The first half of the
song is a pretty stylish piece of singing. Love the humming at the
beginning!
I'm less keen on Pieta', Signore. As one critic wrote, Lanza overdoes
the Gigli sob on this performance -- and things get a little rough in
the second half. The wobbly low notes don't help either.
Lasciatemi Morire? It's almost too short to make much of an impact!
Mario's intonation is slightly off at one point, but he quickly
corrects it.
Gia', il Sole del Gange is the pick of the bunch for me. It's not
perfect, but neither is the accompaniment :-) The first half is
particularly good. Pity about the ending, as Mario falls off the note
a bit -- but these things happen in a live performance. And judging
by the audience's reaction, they didn't care a jot!
I'm also very fond of Tell Me, Oh Blue Blue Sky (from the title words
onwards). Pitchwise, it's a bit hiss and miss to start with, but
Lanza's complete involvement here make it all worthwhile.
Certainly, all of the above are superior to the Albert Hall
Marechiare, which is easily Mario's worst performance of the song.
Isn't it curious, by the way, that whereas other singers usually
perform the likes of Gia', il Sole del Gange to warm up their voices
-- saving the demanding stuff for later -- Mario simply launches
straight in with an extraordinarily dramatic Lamento di Federico?
Cheers
Derek
Derek McGovern
of anyone here who hasn't heard it:
http://www.4shared.com/file/134508382/8b67b82/Lamento_di_Federico.html
Actually, the last time I looked, the Albert Hall CD had been discontinued.
Maria Luísa
listening to Mario, with very few exceptions where I find his voice
being 'almost' bad, is a true balsam to the soul. I prefer his
Serenade Lamento - his rendition in this film is incomparable - but
just listening to his beautiful timbre, no matter what he sings, is
really something else. Thanks again.
On Feb 9, 11:00 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Here's a link to the Albert Hall Lamento di Federico for the benefit
> of anyone here who hasn't heard it:
>
> http://www.4shared.com/file/134508382/8b67b82/Lamento_di_Federico.html
>
Derek McGovern
to the Albert Hall version, and I'm not surprised that it moved
members of Ray Heindorf's orchestra to tears. But the Albert Hall
rendition is still a thrilling piece of singing.
My own favourite Lanza Lamento di Federico is the 1948 Toronto
performance, best heard here:
http://www.4shared.com/account/file/140756913/389901c9/Lamento_di_Federico_1948.html
Cheers
Derek
leeann
notes really are wobbly on Pieta, Signore--not recording defects.
Well, I'm sorry, because after the first shock of the first hearing in
the middle of Christmas songs, as I mentioned, it grew on me, and I'll
still single it out for a listen. However, I suppose the upside is
that like most things Lanza, it made me want to know more.
I know from other threads that you speak well of Tell me, Oh Blue Blue
Sky. Hmmm. That's a tension piece to me--yes, I love the voice of
course, I appreciate the involvement, but the lyrics themselves--
there's no emotional resonance, no personal link to the message.
Despite that, I don't recall ever hitting the skip button when it
comes on either.
No, I haven't heard the live version of House on the Hill--and that's
another one I love just because Mario Lanza sings it--not so much
because of the song itself. However, following the hills, sky, and
home theme, I was kind of shocked to discover I like The Hills of
Home. I know. I can probably anticipate a number of critiques. la--
akes. hoooommmme. But the first time I listened to it with
headphones, the orchestration and the voice balanced well. I didn't
exactly wax nostalgic, but sat right on the verge. The impact lessens
with inferior earbuds. I was surprised it gripped me as part of The
Touch of Your Hand. For me, that album is best taken in individual
tracks with several skips--not from start to finish in its entirety.
Then one last thought--and again, thank you for speaking about the
specific Albert Hall pieces--do the "easier" pieces, then, come in the
center of the concert? For better or worse as the case of Marechiare?
And if so, would the venue and acoustics have influenced that? Or
perhaps his own health and stamina at the time. Lee Ann
Maria Luísa
listening to Mario singing and 'seeing' him simultaneously is an
unique experience to never forget and this in fact happens in Serenade
to our wonder. I don't think there's more perfect renditions such as
Mario's in this film, especially Lamento. His voice is superb, his
acting perfect and believable, the aria is one of his most beautiful,
for me at least. Three qualities of Mario for a memorable performance
as effectively did happen. On thing I'm sorry did not happen regarding
the Albert Hall performance and that is Mario's dialogue with the
audience being so short, just a
small phrase. A pity really, for his beautiful speaking voice is
simply lovely and joyful. Oh well, one cannot have everything, let us
keep in our hearts and cherish forever the immense number of fantastic
arias and songs and a few films Mario fortunately left us for our
eternal joy and admiration.
On Feb 10, 2:27 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Hi Luísa: I agree that the Serenade version of the Lamento is superior
> to the Albert Hall version, and I'm not surprised that it moved
> members of Ray Heindorf's orchestra to tears. But the Albert Hall
> rendition is still a thrilling piece of singing.
>
> My own favourite Lanza Lamento di Federico is the 1948 Toronto
> performance, best heard here:
>
> http://www.4shared.com/account/file/140756913/389901c9/Lamento_di_Fed...
Derek McGovern
and its vocal shortcomings aren't that big a deal to me. But,
*stylistically*, he definitely falls short here. He's just a bit too
rough. I'd love to have heard him sing this on another occasion; maybe
then we might have heard the "ravishing mezza voce" that he used at
his 1951 Chicago recital.
Yes, it was a very peculiar decision to stick Pietà, Signore in the
middle of Lanza's 1987 Christmas CD! It's completely out of place
there: vocally and musically. Maybe whoever chose it mistakenly
thought it had something to do with Christmas?!
I know what you mean about the lyrics to Tell Me, Oh Blue Blue Sky,
and it's hard to believe that this song was written as recently as
1927. But Mario instinctively recognizes here that the only way to
pull off a song like this is to throw himself headfirst into it. He
turns it into a dramatic aria! Listen to any other singer's version
(e.g., Hampson's, Warren's), and you'll hear a straitlaced approach
(minus the interpolated high note too, of course) that is frankly
pretty dull. Lanza was incapable of being boring.
I wouldn't say the easier numbers on the Albert Hall concert
necessarily come in the middle of the concert. Mamma Mia, Che Vo'
Sape, for example, is a very challenging song. (This is another flawed
piece of singing, but what a thrilling ending it has!) In fact, all
three of the Neapolitan songs Mario sings here are hard to pull off
(for different reasons). To my ears, Marechiare's by far the weakest
of the three performance-wise. I think Mario just gets carried away in
his quest to excite the audience, and ends up belting the thing out
for all he's worth. It doesn't help that Callinicos' piano
accompaniment strikes a jarring note in the second half, and that
(from our perspective) Lanza's moving around a lot. As Armando points
out in his book, it was also a shame that Mario sings the same verse
twice!
The Albert Hall highlights for me? Lamento di Federico, Gia' il Sole
del Gange, Tell Me, Oh Blue Blue Sky, E Lucevan le Stelle (with one or
two misgivings), and Because You're Mine.
Cheers
Derek
Derek McGovern
> You are right, Derek, this 48 rendition is superb, but still,
> listening to Mario singing and 'seeing' him simultaneously is an
> unique experience to never forget and this in fact happens in Serenade
> to our wonder. I don't think there's more perfect renditions such as
> Mario's in this film, especially Lamento. His voice is superb, his
> acting perfect and believable, the aria is one of his most beautiful,
> for me at least.
Hi Luísa: Oh, I agree that the Lamento scene is one of the highlights
of Serenade. My only regret is that Lanza's exquisitely-sung opening
lines were cut from the release print. (In the film the aria starts at
"Anch'io vorrei...".) Here's a link to a pristine copy of the complete
Serenade version of the aria:
http://www.4shared.com/file/220300106/d6033247/Lamento_di_Federico__1955_.html
Warners also cut L'Innocente's lines that immediately precede
Federico's aria. These are sung in the opera by a boy soprano -- and
we know from the Warners recording logs that they were definitely
recorded (in October 1955 -- three months after Lanza had recorded the
aria itself). I wonder if we'll ever get to hear them? The fact that
they were recorded shortly before the filming of the scene suggests
that Warners did indeed shoot the aria complete, and with the boy
soprano's contribution.
Maria Luísa
almost unbelievable how can a tenor have such beauty and power in his
singing voice. His unbelievable last note in Lamento (just to cite
this supreme aria although there are many others excellent of course
but perhaps not as good) will remain forever in the history of opera
as unique with one of the most fabulous highC's.I don't thing any
other tenor, no matter how good they were and there were many,
obtained such a tremendous score, For me this is is the zenith Maro's
most glorious singing.
On Feb 12, 6:50 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Feb 12, 8:05 am, Maria Luísa <maria.c...@gmail.com> wrote:
>
> > You are right, Derek, this 48 rendition is superb, but still,
> > listening to Mario singing and 'seeing' him simultaneously is an
> > unique experience to never forget and this in fact happens in Serenade
> > to our wonder. I don't think there's more perfect renditions such as
> > Mario's in this film, especially Lamento. His voice is superb, his
> > acting perfect and believable, the aria is one of his most beautiful,
> > for me at least.
>
> Hi Luísa: Oh, I agree that the Lamento scene is one of the highlights
> of Serenade. My only regret is that Lanza's exquisitely-sung opening
> lines were cut from the release print. (In the film the aria starts at
> "Anch'io vorrei...".) Here's a link to a pristine copy of the complete
> Serenade version of the aria:
>
> http://www.4shared.com/file/220300106/d6033247/Lamento_di_Federico__1...
Derek McGovern
Mario sings near the end of the Lamento di Federico; it's a B natural
(i.e., one semitone lower than a C). Still, a B natural is no easy
feat, and the way Lanza sings it here is quite extraordinary.
One of these days I'll get round to transferring Mario's 1952 home
recording of the Lamento from tape to MP3. It's very distorted in
places, but the extended B natural he sings on it has to be heard to
be believed!
Derek McGovern
tones (or whole-steps) can seem bewildering to anyone who doesn't read
music or play instruments/sing. To make things easier (if you're one
of those people), you might find this easy-to-use online keyboard
useful:
http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/piano/index.htm
It identifies the notes of an octave. (Just remember that from A to B,
C to D, D to E, F to G, and G to A the difference is a tone; and from
B to C and E to F it's a semitone.) While the B that Mario sings on
the Lamento is in a higher octave than the one here, at least you'll
be able to hear the difference between, say, a B and a C.
Lanza's range was close to two and a half octaves.
On Sat, Feb 13, 2010 at 11:45 AM, Derek McGovern
<derek.m...@gmail.com> wrote:
> I know all this talk of semitones (half-steps) and tones (full-steps)
> can seem bewildering to those who don't read music or sing/play
> instruments. If you're one of those people, this easy-to-use online
> keyboard (which identifies the notes of an octave) may help:
>
> http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/piano/index.htm
>
> (Just bear in mind that the B on this keyboard is in a lower octave
> from the one that Lanza sings on the Lamento di Federico.)
Tonytenor
Very interesting posts. A couple of thoughts: My hunch on the
inclusion of "Pieta Signore" on the Christmas CD was simply because it
is semi-religious in nature and, of course, has the subject matter of
Jesus Christ. Just to note, Pavarotti sang it on his now famous X-
Mas LP O HOLY NIGHT. By the way Lee Ann, Mario does not sing the
whole song. It is an A - B - A structure and he omits the "B" section
(or the "bridge" if you will). I really do not know why and I don't
know if this was his standard practice to perform the piece the way -
perhaps Armando might shed some light on that. In reality, it matters
very little when one considers the performance practices of the
Baroque period; it was not at all unusual for singers to improvise on
pieces to suite their own voices and their own deisire (and those of
the audience - the addition of a high note is always a winner I can
assure you). In all events, if you desire to hear "Pieta Signore" in
its complete form, you might have a listen to Pavarotti's recording -
I am sure it's on You Tube.
And speaking of the addition of high notes, how about that blasting
high B in the middle of "Tell Me, Oh Blue, Blue Sky"? I love Mario
and I love his voice. Heck, I even love the high B he sings, but
where in the world did it come from? It most certainly is not in the
score I can tell you that. I think, and this is just my own though on
this, that Mario wanted to dramatize the piece as much as possible and
the insertion of the high B and singing the words (which are not in
the song) "Oh no!" seemed, to him, a good idea. From an audience
standpoint and sheer vocal histrionics go it was a good idea. I am
sure that many, perhaps most of the crowd in Albert Hall that night
were thilled to hear yet one more Lanza high note. From a strictly
musical standpoint however, it was a dreadful idea and quite
inappropriate for this particular piece. I've often wondered what
Richard Bonynge and Joan Sutherland thought of that emotionally
charged moment.
There is so much that is wonderful about the RAH recording, not the
least of which is Mario's marvelous interaction with the audience. To
be in his presence must have been electric. I know we sometimes pick
apart things and disect performances and compare them with previous
ones or later ones but I am quite sure it is done because we all of
us, in our own way, stand in awe of this magnificent voice and stellar
talent. My god, why else would Armando have devoted virtually half a
lifetime to create the only accurate, detailed and valid biography
about Lanza. Oh my how I can become passionate and involved when it
comes to Mario. I am very grateful to whatever caused the technical
problems that Saturday afternoon back in 1970 that made it impossible
for my mother to listen to the Metropolitan Opera broadcast. For that
day the NPR station broadscast the soundtrack to MGM's THE STUDENT
PRINCE and I heard the voice of Mario Lanza for the first time. And
my life was changed forever from that moment.
On Feb 12, 8:58 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> I know all this talk of semitones (sometimes called half-steps) and
> tones (or whole-steps) can seem bewildering to anyone who doesn't read
> music or play instruments/sing. To make things easier (if you're one
> of those people), you might find this easy-to-use online keyboard
> useful:
>
> http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/pi...
>
> It identifies the notes of an octave. (Just remember that from A to B,
> C to D, D to E, F to G, and G to A the difference is a tone; and from
> B to C and E to F it's a semitone.) While the B that Mario sings on
> the Lamento is in a higher octave than the one here, at least you'll
> be able to hear the difference between, say, a B and a C.
>
> Lanza's range was close to two and a half octaves.
>
> On Sat, Feb 13, 2010 at 11:45 AM, Derek McGovern
>
>
>
> <derek.mcgov...@gmail.com> wrote:
> > I know all this talk of semitones (half-steps) and tones (full-steps)
> > can seem bewildering to those who don't read music or sing/play
> > instruments. If you're one of those people, this easy-to-use online
> > keyboard (which identifies the notes of an octave) may help:
>
> >http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/pi...
> >> > > soprano's contribution.- Hide quoted text -
Mike McAdam
Only two things I'll like to say. First: good on ya, Kiwi for offering
that primer for the folks out there who may not play an instrument or
sing and therefore find it difficult to understand posts which bring
these 'tonal' terms into the discussion.
Secondly: Tony, another great post, man! Yes, you may sound emotional,
but...what a great emotion!
Speaking of the Student Prince, keep eyes peeled for a post later
today where members can DL both the soundtrack outtake of the Serenade
from the now-withdrawn Rhino MGM CD and the version they actually used
in the film. The comparison is a real eye-opener.
Cheers, Mike
> > - Show quoted text -- Hide quoted text -
Derek McGovern
> And speaking of the addition of high notes, how about that blasting
> high B in the middle of "Tell Me, Oh Blue, Blue Sky"? I love Mario
> and I love his voice. Heck, I even love the high B he sings, but
> where in the world did it come from? It most certainly is not in the
> score I can tell you that. I think, and this is just my own though on
> this, that Mario wanted to dramatize the piece as much as possible and
> the insertion of the high B and singing the words (which are not in
> the song) "Oh no!" seemed, to him, a good idea. From an audience
> standpoint and sheer vocal histrionics go it was a good idea. I am
> sure that many, perhaps most of the crowd in Albert Hall that night
> were thilled to hear yet one more Lanza high note. From a strictly
> musical standpoint however, it was a dreadful idea and quite
> inappropriate for this particular piece. I've often wondered what
> Richard Bonynge and Joan Sutherland thought of that emotionally
> charged moment.
Hi Tony: The interpolated high note in Tell Me, Oh Blue Blue Sky works
for me! I don't find it any less appropriate than, say, the unwritten
high B that Lanza and a handful of other tenors sing in the Lamento di
Federico.
To me, the note works in Tell Me because it fits in with Lanza's
decidedly dramatic and intense approach to the song. When Thomas
Hampson or Leonard Warren sing this song, they are restraint
personified in comparison with Lanza. An interpolated cry would have
sounded completely out of place if they'd been daring enough to add
one.
I wonder what the composer (Philadelphian Vittorio Giannini) thought
of Lanza's Albert Hall version? Presumably he heard it, since the
album was released in 1961 -- and Giannini was around for another four
years after that. As for Bonynge and Sutherland, I'd be surprised if
either of them was offended by the note, as they made a point of
singling out Lanza's innate musicality when Armando interviewed them.
Maria Luísa
matter, that extraordinary final note sounds to me just like a high C
(I suppose is the highest note in opera, am I right?) also let me add
that I never heard such a beautiful and simultaneously fantastic high
note coming from a throat of a tenor no matter how good they are. It's
just not the enormous power of it, it is the extreme beauty Mario puts
in its singing, I mean the way he projects the sound in itself that is
absolutely amazing. To be honest I had a tiny idea that that was not a
high C really but then I am not used yet to the scales of the high
notes (if these are the right words). In fact all I have learned about
them - and am very far from knowing them all properly although I have
been learning here quite a lot - is totally due to your excellent
teachings:-) Thanks Derek very much
Derek McGovern
Actually, you may well have heard a high C on the Serenade Lamento! I
say that because your country (Portugal), like almost all European
countries (and NZ and Australia), uses the PAL TV system. When movies
are broadcast on television (or sold on video), the PAL system
requires them to run at a slightly faster speed than they were filmed
at (i.e., 25 frames per second instead of 24); this one-frame-per-
second difference is equivalent to a semitone! Quite a few of the
Lanza film clips on YouTube are running fast for this same reason.
It's a real shame, as that semitone's difference robs Mario's voice of
much of its resonance. It's especially noticeable on the pre-Serenade
films.
The high C is by no means the highest sung note in opera; in fact,
Lanza himself sang a high D-flat (i.e., a semitone higher than a high
C) on both of his versions of the Addio, Addio from Rigoletto. He was
actually slightly under the note both times, but that's neither here
nor there. Besides, few operas require the tenor to sing anything
higher than a C, and, in fact, there have been many great tenors
without a reliable high C. Lanza, of course, had a very secure high C;
just listen to the ease with which he hits the note on Che Gelida
Manina (1949 and Great Caruso versions), and at the end of the RCA
Tina-Lina, etc. There are many other examples.
In his Albert Hall recital, as well as singing a ringing high B on the
Lamento, Mario sings some fantastic B-flats (no mean feat either).
Just listen to the final note to Because You're Mine; it's in a class
of its own (and far better than the ending on his 1952 commercial
recording). The singer we hear at this concert, and on most of the
Serenade recordings, is a man in complete control of his voice.
Cheers
Derek
Maria Luísa
Mario. As for the rest, I'll be anxiously waiting for that
extraordinary 52 home recording of wonderful Lamento. Taking your
words I believe that must be some true precious singing to well
waiting for.
Maria Luísa
thank immensely for it, I take the liberty to just cite and agree
absolutely with two things: Che Gelida Manina is a spectacular aria
where is voice is grand and full of beauty and power, the best singing
I ever heard of this aria, sublime really. As to Serenade all he sings
in it is totally superb with the small exception of the (bad) high
note at the very end of the film His voice here is in its most
glorious state. In fact I don't think Mario had a more grandeur voice
even in his beginnings when he recorded wonderfully and impeccably the
fantastic arias for the Great Caruso where his voice had a beauty
never seen, which as we all know was at its maximum splendour. Thanks
again Derek.
leeann
thread--too numerous to cite individually-- including welcomed lessons
on how to listen. And while Tell Me, Oh Blue Blue Sky may never make
it to my top 10 Mario list, I've a new appreciation for it, including
the high B--well I'll have to agree--it was the right thing for the
audience at the time (different if it had been a studio recording).
Tony, when you mentioned Mario Lanza's involvement with the audience,
it made me think, too, of Armando's recent translation of the 1959 RAI
interview. When I first read his response to the interviewer about
Betty Lanza's Italian language skills, "But you don’t know when she
screams at me –where she finds those words - but she knows some words-
beautiful!" I was a bit taken aback. There are several unflattering
ways you can take that sentence. THEN, I remembered how he sounds
during that interview--his voice is happy, affectionate, teasing. How
much difference sound and expression do make!
Anyway, I'm very appreciative of this thread. Lee Ann