Mario and his Disease
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Joe Fagan
Dec 2, 2008, 10:48:08 AM12/2/08
to The Mario Lanza Forum
Derek, you have mentioned in your very interesting last post about
how Mario had refrained from drinking because of a looming recording
date coming up ( in which he sang beautifully). This brings up a
personal theory I have always held about Mario: His disease of
alcoholism was greater than what we like to recognize i.e. his probems
with booze affected a lot of his recorded legacy ( especially in later
years) and it may help explain some of his "clunkers" like LOB and
Christmas carols. This is not to suggest that he showed up at the
studio 'drunk" but maybe with enough alcohol in his system to prevent
his best work. Again, I am not knocking Mario for afterall, alcoholism
is a desease like any other. ...BUT, I do think it affected his work
a lot more than we think ( or say).
how Mario had refrained from drinking because of a looming recording
date coming up ( in which he sang beautifully). This brings up a
personal theory I have always held about Mario: His disease of
alcoholism was greater than what we like to recognize i.e. his probems
with booze affected a lot of his recorded legacy ( especially in later
years) and it may help explain some of his "clunkers" like LOB and
Christmas carols. This is not to suggest that he showed up at the
studio 'drunk" but maybe with enough alcohol in his system to prevent
his best work. Again, I am not knocking Mario for afterall, alcoholism
is a desease like any other. ...BUT, I do think it affected his work
a lot more than we think ( or say).
Derek McGovern
Dec 2, 2008, 5:08:34 PM12/2/08
to The Mario Lanza Forum
Hi Joe: There's no doubt in my mind that Mario's drinking affected his
work. There's a certain bleariness in some of his later recordings
that I would put down to alcohol, and I have little doubt that he was
seriously hungover throughout the Lanza on Broadway sessions --
especially at the first two. (The master tapes reveal that he wasn't
drunk, though.)
Some of the harshness that we hear in his timbre *at times* on the
1959 albums is also attributable -- at least in part, I feel -- to the
aftermath of heavy drinking, though I would never agree with Lindsay
Perigo's hyperbolic statement on a 1979 radio programme that Lanza's
voice was, by 1959, "hideously coarsened by alcoholic apathy". But how
much of that harshness (or raspiness) -- and I'm thinking mainly of
the 1959 Student Prince and Christmas albums with Paul Baron -- is, in
fact, due to the general decline of Mario's health, as opposed simply
to the effect of alcohol, is impossible to say. Whatever the reason,
though, the voice itself was not damaged (as even the unsympathetic
Mr. Baron pointed out to me), and, in fact, on his very last album
(The Desert Song) Mario's timbre had returned almost to the Lanza of
yore on things like One Alone and Azuri's Dance.
But it amazes me that there are still some in the Lanza world who
insist that Mario did not have a serious alcohol problem. In fact,
it's become almost an article of faith among certain stalwarts of the
Lanza Legend site that the stories of Mario's drinking are the
inventions of malicious minds. The trouble with accepting that view is
that one then has to disregard the observations of virtually everyone
who knew him -- whether it be those of devoted friends like George
London and his Rome agent Sam Steinman or film colleagues like Renato
Rascel -- as well as the overwhelming medical evidence (the 1958
diagnosis of serious liver damage) that he was a heavy drinker.
Was he an alcoholic? That's more difficult to determine, and, in fact,
we discussed this recently on the Constantine Callinicos thread
(http://groups.google.com/group/mariolanza/browse_thread/thread/
f6608225188e5a39#). But the bottom line is that, regardless of whether
Mario was addicted (or "virtually addicted", as I think George London
put it) to alcohol or not, his drinking definitely damaged his health.
At the very least, it would also have undermined his energy levels and
resolve. But as the "Mario!" album sessions proved, and on many other
occasions when he was working (including his final recital tour), his
drinking had not reached the point at which he could no longer control
it. In fact, I believe that he could indeed have turned his life
around had he lived and been able to regain the inner security that
his Hollywood experience had greatly undermined. (It's important to
note that Lanza was not a heavy drinker prior to arriving in
Hollywood.) To achieve that, though, he would have had to return to
the opera stage -- even if it were only on a part-time basis.
They're my thoughts, anyway; it would be interesting to hear others'
take on this difficult subject.
Cheers
Derek
PS I've changed your subject heading, Joe -- hope you don't mind. I
wasn't comfortable with the heading "Mario and his disease",
especially since poor old Lanza suffered from more than one of them
(phlebitis, for example).
work. There's a certain bleariness in some of his later recordings
that I would put down to alcohol, and I have little doubt that he was
seriously hungover throughout the Lanza on Broadway sessions --
especially at the first two. (The master tapes reveal that he wasn't
drunk, though.)
Some of the harshness that we hear in his timbre *at times* on the
1959 albums is also attributable -- at least in part, I feel -- to the
aftermath of heavy drinking, though I would never agree with Lindsay
Perigo's hyperbolic statement on a 1979 radio programme that Lanza's
voice was, by 1959, "hideously coarsened by alcoholic apathy". But how
much of that harshness (or raspiness) -- and I'm thinking mainly of
the 1959 Student Prince and Christmas albums with Paul Baron -- is, in
fact, due to the general decline of Mario's health, as opposed simply
to the effect of alcohol, is impossible to say. Whatever the reason,
though, the voice itself was not damaged (as even the unsympathetic
Mr. Baron pointed out to me), and, in fact, on his very last album
(The Desert Song) Mario's timbre had returned almost to the Lanza of
yore on things like One Alone and Azuri's Dance.
But it amazes me that there are still some in the Lanza world who
insist that Mario did not have a serious alcohol problem. In fact,
it's become almost an article of faith among certain stalwarts of the
Lanza Legend site that the stories of Mario's drinking are the
inventions of malicious minds. The trouble with accepting that view is
that one then has to disregard the observations of virtually everyone
who knew him -- whether it be those of devoted friends like George
London and his Rome agent Sam Steinman or film colleagues like Renato
Rascel -- as well as the overwhelming medical evidence (the 1958
diagnosis of serious liver damage) that he was a heavy drinker.
Was he an alcoholic? That's more difficult to determine, and, in fact,
we discussed this recently on the Constantine Callinicos thread
(http://groups.google.com/group/mariolanza/browse_thread/thread/
f6608225188e5a39#). But the bottom line is that, regardless of whether
Mario was addicted (or "virtually addicted", as I think George London
put it) to alcohol or not, his drinking definitely damaged his health.
At the very least, it would also have undermined his energy levels and
resolve. But as the "Mario!" album sessions proved, and on many other
occasions when he was working (including his final recital tour), his
drinking had not reached the point at which he could no longer control
it. In fact, I believe that he could indeed have turned his life
around had he lived and been able to regain the inner security that
his Hollywood experience had greatly undermined. (It's important to
note that Lanza was not a heavy drinker prior to arriving in
Hollywood.) To achieve that, though, he would have had to return to
the opera stage -- even if it were only on a part-time basis.
They're my thoughts, anyway; it would be interesting to hear others'
take on this difficult subject.
Cheers
Derek
PS I've changed your subject heading, Joe -- hope you don't mind. I
wasn't comfortable with the heading "Mario and his disease",
especially since poor old Lanza suffered from more than one of them
(phlebitis, for example).
Message has been deleted
Derek McGovern
Dec 2, 2008, 5:14:55 PM12/2/08
to The Mario Lanza Forum
Sorry, for some reason the link to the Callinicos thread in my post
above didn't come through properly. Here it is again:
http://groups.google.com/group/mariolanza/browse_thread/thread/f6608225188e5a39#
above didn't come through properly. Here it is again:
http://groups.google.com/group/mariolanza/browse_thread/thread/f6608225188e5a39#
Armando
Dec 2, 2008, 6:54:26 PM12/2/08
to The Mario Lanza Forum
Regardless of what the “great experts and paragons of truth” on the
Lanza Legend would like the world to believe, the reality is that
Lanza had an extremely serious drinking problem.
The following is an extract from a letter written to me by George
London:
Hollywood –as you have suggested - really did him in. He was on top
of the world but remained one of the most tormented, insecure people I
had ever known. He started to drink heavily soon after the start of
his movie career and was, in effect, an alcoholic for the last ten
years of his life. That, plus compulsive eating bouts followed by
draconic diets, is what finally did him in. An ordinary man couldn’t
have lasted half that long. It was a great tragedy.
Message has been deleted
gary from N.S.
Dec 2, 2008, 7:46:04 PM12/2/08
to The Mario Lanza Forum
Hello Derek,
I realize this area of Mario's life has been discussed often times,and
I think your post is balanced and very fair.
There is no doubt alcohol caused Mario problems with his health,and
affected other areas of his life.Similarly his swings in weight,led to
health problems as well.
There are numerous accounts, over the years, backing up the facts,
concerning Mario and alcohol,and his problem with weight.
My own dear father, who, brought me, as a youngster, to the world of
opera, and other fine music,was himself, a man who suffered from the
over-use of alcohol. He never appeared as a "drunk",but drank daily.
He was a success in his profession,but, all social activities,
revolved around "the drink".
He died at 62. Too much booze,cigarettes,and the wrong food.
So, my point is this, Mario was no differant than many persons, in his
addictions,and he paid the consequences,as we all must,sooner or
later.
Mario believed he was born to sing,and sing he did. I am sure he felt
at times, the 'pressure' to perform.
I am sure he felt,he must give all he could give to his adoring fans.
He had such magnificent talent,and he realized he was 'gifted'.
Did he perhaps squander years from his life,by his 'addictions'. I
believe, he did.
He was an artist,and it seems many gifted artists,have their lifetimes
ended early.
So in closing my feelings are,both Mario and my father, were men who
played a huge part in my life. (albeit in differant ways).Both of
these men, died prematurely,due to addictions,which brought on serious
health issues.
So many,many times I have wondered what I missed in life with my
father, because he left to early.
So many times I have wondered,what Mario's successes, later in his
life, he would have attained,especially in the realm of opera.
But, the reality is, I will never know, and the reality is also, I am
thankful for the 'good' I have received from each of these men.
Cheers
Gary
On Dec 2, 6:14 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Sorry, for some reason the link to the Callinicos thread in my post
> above didn't come through properly. Here it is again:
>
> http://groups.google.com/group/mariolanza/browse_thread/thread/f66082...
I realize this area of Mario's life has been discussed often times,and
I think your post is balanced and very fair.
There is no doubt alcohol caused Mario problems with his health,and
affected other areas of his life.Similarly his swings in weight,led to
health problems as well.
There are numerous accounts, over the years, backing up the facts,
concerning Mario and alcohol,and his problem with weight.
My own dear father, who, brought me, as a youngster, to the world of
opera, and other fine music,was himself, a man who suffered from the
over-use of alcohol. He never appeared as a "drunk",but drank daily.
He was a success in his profession,but, all social activities,
revolved around "the drink".
He died at 62. Too much booze,cigarettes,and the wrong food.
So, my point is this, Mario was no differant than many persons, in his
addictions,and he paid the consequences,as we all must,sooner or
later.
Mario believed he was born to sing,and sing he did. I am sure he felt
at times, the 'pressure' to perform.
I am sure he felt,he must give all he could give to his adoring fans.
He had such magnificent talent,and he realized he was 'gifted'.
Did he perhaps squander years from his life,by his 'addictions'. I
believe, he did.
He was an artist,and it seems many gifted artists,have their lifetimes
ended early.
So in closing my feelings are,both Mario and my father, were men who
played a huge part in my life. (albeit in differant ways).Both of
these men, died prematurely,due to addictions,which brought on serious
health issues.
So many,many times I have wondered what I missed in life with my
father, because he left to early.
So many times I have wondered,what Mario's successes, later in his
life, he would have attained,especially in the realm of opera.
But, the reality is, I will never know, and the reality is also, I am
thankful for the 'good' I have received from each of these men.
Cheers
Gary
On Dec 2, 6:14 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Sorry, for some reason the link to the Callinicos thread in my post
> above didn't come through properly. Here it is again:
>
Derek McGovern
Dec 2, 2008, 8:01:10 PM12/2/08
to The Mario Lanza Forum
Many thanks for sharing those heart-stopping comments from George
London with us, Armando. There can be no question that he was telling
the truth, and he was certainly in a position to notice the dramatic
decline in Lanza's physical and emotional well-being in the decade or
so after their Bel Canto Trio days together. More than most, London
also appreciated the scale of that tragedy. Ominously, as early as
1956, he had told an interviewer that although Lanza possessed "the
most beautiful voice in the world", he did "not take care of
himself".
London with us, Armando. There can be no question that he was telling
the truth, and he was certainly in a position to notice the dramatic
decline in Lanza's physical and emotional well-being in the decade or
so after their Bel Canto Trio days together. More than most, London
also appreciated the scale of that tragedy. Ominously, as early as
1956, he had told an interviewer that although Lanza possessed "the
most beautiful voice in the world", he did "not take care of
himself".
Derek McGovern
Dec 2, 2008, 8:13:06 PM12/2/08
to The Mario Lanza Forum
Thanks very much for your extremely thoughtful post, Gary -- and for
your honesty. If only others in the Lanza world would understand that
acknowledging Mario's problem with alcohol doesn't constitute a
condemnation of the man's character! If anything, it makes his
numerous achievements seem all the more remarkable.
Cheers
Derek
your honesty. If only others in the Lanza world would understand that
acknowledging Mario's problem with alcohol doesn't constitute a
condemnation of the man's character! If anything, it makes his
numerous achievements seem all the more remarkable.
Cheers
Derek
andrew...@gmail.com
Dec 3, 2008, 7:24:05 AM12/3/08
to mario...@googlegroups.com
Hello I read your posts with interest and agree that his voice in some recordings does not have the freshness and lustre of which we know he was capable. I know as a singer that if I have a late night in a loud bar or over-consume my voice feels unlubricated somehow and it is hard to get glow in the voice.
Obviously Mario's drinking must have affected both his singing and his health, he was it seems by nature a strong guy but alcohol is a terribly dangerous thing for some. It must have been a terrible strain for his children growing up with this and also with Betty's issues too. I have been listening to a radio program today about children of alcoholics and it seems to manifest in the children in very different ways. I am unaware of any accounts of this side of his life by his children. I am glad that this forum treats this side of his life with such candour but avoids sensationalism to ignore it is ridiculous.
Sent using BlackBerry® from Orange
-----Original Message-----
From: Derek McGovern <derek.m...@gmail.com>
Date: Tue, 2 Dec 2008 17:01:10
To: The Mario Lanza Forum<mario...@googlegroups.com>
Subject: Lanza's drinking -- and its impact on his work
Obviously Mario's drinking must have affected both his singing and his health, he was it seems by nature a strong guy but alcohol is a terribly dangerous thing for some. It must have been a terrible strain for his children growing up with this and also with Betty's issues too. I have been listening to a radio program today about children of alcoholics and it seems to manifest in the children in very different ways. I am unaware of any accounts of this side of his life by his children. I am glad that this forum treats this side of his life with such candour but avoids sensationalism to ignore it is ridiculous.
Sent using BlackBerry® from Orange
-----Original Message-----
From: Derek McGovern <derek.m...@gmail.com>
Date: Tue, 2 Dec 2008 17:01:10
To: The Mario Lanza Forum<mario...@googlegroups.com>
Subject: Lanza's drinking -- and its impact on his work
Mike McAdam
Dec 5, 2008, 12:40:26 AM12/5/08
to The Mario Lanza Forum
These posts on Lanza's drinking, while pointed and introspective for
the most part are still sympathetic…as they should be. When I
destroyed the "Lanza on Broadway" LP the day I bought it (yes!) it was
mainly because I was totally shocked. Here was a man whose voice
poured out like gold from my mother’s Student Prince and Neapolitan
Serenade albums (not to forget "A Kiss aOLS", which I subsequently
purchased) and here he was sounding worse than….well, my uncle; a
gifted tenor who thrilled the family on every special family occasion
back in my pre-adolescent days in Scotland. Whether he sang for a
family bride or for a parent at a birthday gathering he was always a
delight; everyone’s favourite. I remember as a little boy how the
women adored him; handsome, confident and with a penchant for pouring
forth like Mario Lanza, who he greatly admired. I also remember his
dark side. I won’t go into the sordid details but I definitely
remember how he sounded when drunk or badly hungover (kids are
perceptive that way, aren’t they?). The booze took over his life in
short order and he squandered his talent and everyone’s hopes for him.
I guess it evoked memories of this gifted but foolish uncle when I
first put the stylus in the groove of Lanza’s Broadway album way back
then. The bleary and slurred vocal sounds were eerily identical to my
ears. I think the overreactive manner in which I despatched the LoB LP
was due in part to this childhood memory?
[Begs the question…why in hell did RCA Victor release such a thing in
the first place and why would Mario let them? They obviously weren’t
interested in having him sit for a new portrait session (who was that
blonde on the blinkin’ cover anyway?), or in doing any retakes.
Someone wasn’t showing much respect for the artist here or was it the
artist whose self-respect had temporarily lapsed during an alcohol-
induced haze? We’ll likely never know.]
M.
> himself".- Hide quoted text -
>
> - Show quoted text -
the most part are still sympathetic…as they should be. When I
destroyed the "Lanza on Broadway" LP the day I bought it (yes!) it was
mainly because I was totally shocked. Here was a man whose voice
poured out like gold from my mother’s Student Prince and Neapolitan
Serenade albums (not to forget "A Kiss aOLS", which I subsequently
purchased) and here he was sounding worse than….well, my uncle; a
gifted tenor who thrilled the family on every special family occasion
back in my pre-adolescent days in Scotland. Whether he sang for a
family bride or for a parent at a birthday gathering he was always a
delight; everyone’s favourite. I remember as a little boy how the
women adored him; handsome, confident and with a penchant for pouring
forth like Mario Lanza, who he greatly admired. I also remember his
dark side. I won’t go into the sordid details but I definitely
remember how he sounded when drunk or badly hungover (kids are
perceptive that way, aren’t they?). The booze took over his life in
short order and he squandered his talent and everyone’s hopes for him.
I guess it evoked memories of this gifted but foolish uncle when I
first put the stylus in the groove of Lanza’s Broadway album way back
then. The bleary and slurred vocal sounds were eerily identical to my
ears. I think the overreactive manner in which I despatched the LoB LP
was due in part to this childhood memory?
[Begs the question…why in hell did RCA Victor release such a thing in
the first place and why would Mario let them? They obviously weren’t
interested in having him sit for a new portrait session (who was that
blonde on the blinkin’ cover anyway?), or in doing any retakes.
Someone wasn’t showing much respect for the artist here or was it the
artist whose self-respect had temporarily lapsed during an alcohol-
induced haze? We’ll likely never know.]
M.
>
> - Show quoted text -
Derek McGovern
Dec 5, 2008, 2:26:51 PM12/5/08
to The Mario Lanza Forum
Hi Mike: I do think that RCA showed a cynical lack of respect for
Lanza's reputation when they unleashed the Lanza on Broadway album on
to the public. It's inconceivable that at least some of their movers
and shakers (producer Richard Mohr, for instance) wouldn't have been
aware of the album's ghastliness -- and yet they continued to re-
release the album over the following decades. Here's my own theory as
to what transpired -- and why Lanza didn't stop the release of the LP.
(If this post sounds familiar, it's because it's taken from our
existing thread on the Lanza on Broadway album:
http://groups.google.com/group/mariolanza/browse_thread/thread/2fa52f41fec48700#.)
"I was just thinking that it would be fascinating to know what
discussions took place at RCA's Head Office in the aftermath of the
Lanza on Broadway sessions. In the first instance, it's pretty obvious
that RCA knew that the album was substandard (to put it mildly)
*before* they released it, as they took the precaution of placing the
only partially salvageable recordings from the sessions at strategic
points on the album: ie, Side 1 began with On the Street Where You
Live, Side 2 with And This Is My Beloved, and the album ended with
You'll Never Walk Alone. The positioning of these tracks can't have
been a coincidence.
"But even then, RCA must still have weighed up the pros and cons of
what the other tracks on this album would do to Lanza's reputation, as
well as its likely impact on future Lanza album
sales -- the only thing that would have truly concerned them, I
suppose. It's been said that tenor Jan Peerce was aghast when he heard
the album and could not comprehend why RCA would consider releasing
it. "Why are they doing this to Lanza?," he's supposed to have
exclaimed. (I'd like to see verification of this story, though!)
"I also have to wonder whether RCA would still have gone ahead with
the Cavalcade album if Mario's vocal condition had not improved in the
months following the Lanza on Broadway sessions. Perhaps they saw the
singles sessions (This Land, Earthbound, etc) that took place earlier
in August 1956 as an opportunity for a (vocal) test run?!
"Many of us have wondered why on earth Lanza didn't simply forbid RCA
to release the Broadway album. (After all, he refused to allow the
release of the Albert Hall recording two years later.) But on
reflection, I suppose he wasn't in a position financially in 1956 to
have done such a thing. RCA would have demanded reimbursement of all
their expenses (the orchestra, the recording engineers, the
conductor's fee, etc), and I imagine that these would have amounted to
a small fortune!"
Lanza's reputation when they unleashed the Lanza on Broadway album on
to the public. It's inconceivable that at least some of their movers
and shakers (producer Richard Mohr, for instance) wouldn't have been
aware of the album's ghastliness -- and yet they continued to re-
release the album over the following decades. Here's my own theory as
to what transpired -- and why Lanza didn't stop the release of the LP.
(If this post sounds familiar, it's because it's taken from our
existing thread on the Lanza on Broadway album:
http://groups.google.com/group/mariolanza/browse_thread/thread/2fa52f41fec48700#.)
"I was just thinking that it would be fascinating to know what
discussions took place at RCA's Head Office in the aftermath of the
Lanza on Broadway sessions. In the first instance, it's pretty obvious
that RCA knew that the album was substandard (to put it mildly)
*before* they released it, as they took the precaution of placing the
only partially salvageable recordings from the sessions at strategic
points on the album: ie, Side 1 began with On the Street Where You
Live, Side 2 with And This Is My Beloved, and the album ended with
You'll Never Walk Alone. The positioning of these tracks can't have
been a coincidence.
"But even then, RCA must still have weighed up the pros and cons of
what the other tracks on this album would do to Lanza's reputation, as
well as its likely impact on future Lanza album
sales -- the only thing that would have truly concerned them, I
suppose. It's been said that tenor Jan Peerce was aghast when he heard
the album and could not comprehend why RCA would consider releasing
it. "Why are they doing this to Lanza?," he's supposed to have
exclaimed. (I'd like to see verification of this story, though!)
"I also have to wonder whether RCA would still have gone ahead with
the Cavalcade album if Mario's vocal condition had not improved in the
months following the Lanza on Broadway sessions. Perhaps they saw the
singles sessions (This Land, Earthbound, etc) that took place earlier
in August 1956 as an opportunity for a (vocal) test run?!
"Many of us have wondered why on earth Lanza didn't simply forbid RCA
to release the Broadway album. (After all, he refused to allow the
release of the Albert Hall recording two years later.) But on
reflection, I suppose he wasn't in a position financially in 1956 to
have done such a thing. RCA would have demanded reimbursement of all
their expenses (the orchestra, the recording engineers, the
conductor's fee, etc), and I imagine that these would have amounted to
a small fortune!"
Joe Fagan
Dec 5, 2008, 6:01:50 PM12/5/08
to The Mario Lanza Forum
You know, Mike jogged an interesting thought for me>>> WHY was Mario's
picture NOT on the album cover?/ When you think of it , that is kind
of strange, in itself. I don't believe ANY of his other albums were
like this . Indeed, what artist *ever* makes an album and doesn't
have their picture on the jacket! ?. Strange !! Maybe Mario had *so
little* do do with this? ( Did the studio NEED his permission?) that
the studio just went ahead and did it.? Maybe Mario's bouts with
alcohol were so bad at that time, he was just too overweight or
drained looking for a photo? ( Of course, they could have used an
earlier one). It is rather odd, is it not??
> > - Show quoted text -- Hide quoted text -
picture NOT on the album cover?/ When you think of it , that is kind
of strange, in itself. I don't believe ANY of his other albums were
like this . Indeed, what artist *ever* makes an album and doesn't
have their picture on the jacket! ?. Strange !! Maybe Mario had *so
little* do do with this? ( Did the studio NEED his permission?) that
the studio just went ahead and did it.? Maybe Mario's bouts with
alcohol were so bad at that time, he was just too overweight or
drained looking for a photo? ( Of course, they could have used an
earlier one). It is rather odd, is it not??
Derek McGovern
Dec 6, 2008, 2:46:41 PM12/6/08
to The Mario Lanza Forum
Hi Joe: Yes, you're right that Lanza on Broadway was one of the few
Lanza albums not to include the tenor's photo anywhere on its covers.
It's possible, I suppose, that Mario refused to be photographed for
the cover because he didn't want anything to do with the album -- or,
as you say, because he wasn't looking his best at the time. The former
"theory" is supported by the fact that he *did* pose for the vastly
superior Cavalcade of Show Tunes album, which was recorded only three
months later.
Incidentally, a year or so before LOB came out, a ten-inch version of
the album A Kiss and Other Love Songs (a mostly excellent collection
of Coke material) was issued under the title Songs of Romance, and it
also featured the face of a woman on the front cover -- and no Lanza
(though, from memory, I think there was a small photo of him on the
back). I've also seen Italian LP releases of the "Mario!" album and
Mario Lanza Sings Caruso Favorites (released under the superior titles
"Celebri Canzoni Napolitane" and "Torna, Caro Ideal", respectively)
that used attractive paintings for their covers, with no Lanza in
sight. (These may have been re-releases, however.)
Lanza albums not to include the tenor's photo anywhere on its covers.
It's possible, I suppose, that Mario refused to be photographed for
the cover because he didn't want anything to do with the album -- or,
as you say, because he wasn't looking his best at the time. The former
"theory" is supported by the fact that he *did* pose for the vastly
superior Cavalcade of Show Tunes album, which was recorded only three
months later.
Incidentally, a year or so before LOB came out, a ten-inch version of
the album A Kiss and Other Love Songs (a mostly excellent collection
of Coke material) was issued under the title Songs of Romance, and it
also featured the face of a woman on the front cover -- and no Lanza
(though, from memory, I think there was a small photo of him on the
back). I've also seen Italian LP releases of the "Mario!" album and
Mario Lanza Sings Caruso Favorites (released under the superior titles
"Celebri Canzoni Napolitane" and "Torna, Caro Ideal", respectively)
that used attractive paintings for their covers, with no Lanza in
sight. (These may have been re-releases, however.)
Derek McGovern
Dec 7, 2008, 1:58:58 AM12/7/08
to The Mario Lanza Forum
A correction to my post above: it's just been pointed out to me that
the Cavalcade album cover is, in fact, a publicity still from
Serenade! I should have twigged to that, as it appears to have been
taken on the same day that my beloved Otello Monologue scene was
filmed.
the Cavalcade album cover is, in fact, a publicity still from
Serenade! I should have twigged to that, as it appears to have been
taken on the same day that my beloved Otello Monologue scene was
filmed.
Tonytenor
Dec 26, 2008, 1:06:53 AM12/26/08
to The Mario Lanza Forum
An interesting and very sad subject to be sure. I've many thoughts on
Mario and his drinking and how it did or did not affect his singing.
For now though, I shall keep these thoughts and opinions to myself. I
wanted to post so as to pass along this link which is about
Bjoerling. In the beginning, Bjoerling's wife (I believe) says some
very interesting things about Jussi, his drinking and drinking in
general. Much of what she says surely applied to Mario as well I
would think. I welcome other's thoughts on this.
http://www.youtube.com/watch?v=5mus7QHrmWk&feature=related
Ciao, Tony
Mario and his drinking and how it did or did not affect his singing.
For now though, I shall keep these thoughts and opinions to myself. I
wanted to post so as to pass along this link which is about
Bjoerling. In the beginning, Bjoerling's wife (I believe) says some
very interesting things about Jussi, his drinking and drinking in
general. Much of what she says surely applied to Mario as well I
would think. I welcome other's thoughts on this.
http://www.youtube.com/watch?v=5mus7QHrmWk&feature=related
Ciao, Tony
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