It was good to be reminded while watching Vince's video yesterday as to which of the two arrangers who worked on
Mario! was responsible for each song:
Of the two arrangers, Carlo Savina and Ennio Morricone, I think it's safe to say that the latter was the more innovative, but Savina did a fine, tasteful job, and I'm especially fond of his work on Fenesta che Lucive and 'Na Sera 'e Maggio. Exquisite stuff!
I think people tend to overlook the importance of the arranger's contribution (and, certainly in Mario's time, they were seldom credited on the back of album covers), but a bad arrangement can easily wreck a song, and I've found that Neapolitan songs---more often than not---suffer in that respect. (And I'm not just referring to the Coke Show arrangements! Contemporary arrangements of Neapolitan songs are often hopelessly overblown or otherwise inappropriate.)
Morricone obviously came to this project determined to upend the traditional arrangements of warhorses like Funiculi' Funicula' and 'O Surdato 'Nnammurato. While we may well have got a better rendition from Mario on the former if Morricone hadn't given it such a radical makeover, I'm fond of what he did with the latter (and I like the slower-than-usual tempo too). But his best work, for my money, is on Voce 'e Notte (unnecessary angelic choir aside!) and Santa Lucia Luntana. On his video, Vince points out that the beginning of the latter (with its lovely shimmering evocation of the sea) is quite unlike any other version of the song---and Mario certainly makes the most of it. Just gorgeous! But the same could also be said of Voce 'e Notte, which allows Mario to shine and create magic in a way that a conventional arrangement probably wouldn't have allowed.
It's too bad that Morricone, who died only a month ago, never publicly shared his view on Lanza's interpretations of these and other songs that he arranged. He did talk a few years back about how the conductor, Franco Ferrara, had experienced fainting spells during one of the Mario! sessions, but that was it.
I did speak briefly on the telephone to Carlo Savina in 1986 on one of my early visits to Rome, but my Italian wasn't good enough for any meaningful discussion. He was very nice, though, and obviously fond of Mario (as indeed most of the people who worked with him in Rome seem to have been).
Anyway, thanks very much, Vince, for highlighting the work of the arrangers in your commentary. You really rammed home the importance of every "ingredient"---from singer, conductor, arranger, to recording engineer, etc---needing to come together in order to create a true masterpiece!
Cheers,
Derek