An Arresting Assortment of Ave Marias

[Derek McGovern]

While the Bach-Gounod "Ave Maria" is associated with the earlier part of Lanza's performing/recording career (1940-1951), it's the Schubert version that Mario turned to in the latter part of his life. He recorded it for Serenade in 1955, performed it on The Christophers in 1957 and sang it again in 1958 for the soundtrack of For the First Time. (It's the only Schubert work we have from him, though he sang the composer's famous "Serenade" in concert on at least one occasion.) 

What's especially interesting to me is how many versions there are floating around of his 1955 and 1958 renditions. In For the First Time, for example, we hear a partial rendition that is different from (and slightly superior to) the complete take featured on the so-called soundtrack album. Not only that, but the album version sounds different depending on whether one is listening to the original UK or US LP. On the UK version, the saccharine choir is mercifully pushed back so that Mario's voice is more dominant. On CD, however, the angels dominate :) 

Choir irritations aside, the FTFT versions are too croony for my liking, though Mario's approach does make sense in the context of the film. The Serenade film version is a different league, however. It's really quite splendidly done: elegantly sung and ultimately very moving. And it's not an easy piece to sing either; as Armando notes in his book, it "contains a central tessitura that is deceptively difficult to sing mezza voce." What many may not be aware of, however, is that there are actually three 1955 versions in existence:

1/ Lanza with Jakob Gimpel on the piano

2/ Lanza with Eugene Le Pique on the organ (actual film version)

3/ Lanza with Eugene Le Pique on the organ (soundtrack LP/CD version)

Its recording history is even more complicated. According to the Warner Bros. logs, Mario recorded three takes (with piano in a separate room) on 18 August 1955, a further three takes ("vocal only") on 26 October and six takes for the RCA soundtrack album on the same day. On top of that, Le Pique's organ accompaniment was recorded separately (ten takes!) on 23 August---presumably because Mario was (I think) in, or en route to, Mexico by then. Chimes and orchestra were subsequently recorded in January 1956.

Listening to the three existing takes, it seems clear to me that the only vocal differences between the piano version and the actual film version are Lanza's opening and closing phrases. In other words, the piano version of 18 August represents the only complete, unedited rendition we have. Why did Lanza redo the opening and closing phrases two months later? Presumably because it was decided that a slightly softer beginning was needed (Mario's a bit heavy-handed on "Ave" on the piano version) and that the sweet ending should be more closely miked to accompany the close-up in the film. Of course, he had already filmed the scene by then, so this represents a rare instance of his singing being (partially) re-recorded after filming rather than before it. 

What I find odd, though, is that the RCA version is the same as the film version, except for the beginning, which is actually a tad inferior to both the film and piano versions! Why did they even bother to change it? And, annoyingly, the edit after the opening phrases is glaringly obvious (especially on headphones).

Anyway, I'll be interested to know what people think of the original version with piano (attached here). It's never been commercially released, and it seems a shame not to share it!

Cheers

Derek

[Joseph Fagan]

Just beautiful Derek, thanks! We often associate some of Mario's works as the ULTIMATE e.g. Be My Love etc. As far as tenors go, I believe his Shubert Ave from Serenade is the greatest of all tenor renditions. Still unequaled after all these years.........Joe

On Tue, Oct 23, 2012 at 7:04 AM, Derek McGovern <derek.m...@gmail.com> wrote:

While the Bach-Gounod "Ave Maria" is associated with the earlier part of Lanza's performing/recording career (1940-1951), it's the Schubert version that Mario turned to in the latter part of his life. He recorded it for Serenade in 1955, performed it on The Christophers in 1957 and sang it again in 1958 for the soundtrack of For the First Time. (It's the only Schubert work we have from Lanza, though he sang the composer's famous "Serenade" in concert on at least one occasion.) 

What's especially interesting to me is how many versions there are floating around of his 1955 and 1958 renditions. In For the First Time, for example, we hear a partial rendition that is different from (and slightly superior to) the complete take featured on the so-called soundtrack album. Not only that, but the album version sounds different depending on whether one is listening to the original UK or US LP. On the UK version, the saccharine choir is mercifully pushed back so that Lanza's voice is more dominant. On CD, however, the angels dominate :) 

Choir irritations aside, the FTFT versions are too croony for my liking, though Mario's approach does make sense in the context of the film. The Serenade film version is a different league, however. It's really quite splendidly done: elegantly sung and ultimately very moving. And it's not an easy piece to sing either; as Armando notes in his book, it "contains a central tessitura that is deceptively difficult to sing mezza voce." What many may not be aware of, however, is that there are actually three 1955 versions in existence:

1/ Lanza with Jakob Gimpel on the piano

2/ Lanza with Eugene Le Pique on the organ (actual film version)

3/ Lanza with Eugene Le Pique on the organ (soundtrack LP/CD version)

Its recording history is even more complicated. According to the Warner Bros. logs, Lanza recorded three takes (with piano in a separate room) on 18 August 1955, a further three takes ("vocal only") on 26 October and six takes for the RCA soundtrack album on the same day. On top of that, Le Pique's organ accompaniment was recorded separately (ten takes!) on 23 August---presumably because Lanza was (I think) in, or en route to, Mexico by then. Chimes and orchestra were subsequently recorded in January 1956.

Listening to the three existing takes, it seems clear to me that the only vocal differences between the piano version and the actual film version are Lanza's opening and closing phrases. In other words, the piano version of 18 August represents the only complete, unedited rendition we have. Why did Lanza redo the opening and closing phrases two months later? Presumably because it was decided that a slightly softer beginning was needed (Mario's a bit heavy-handed on "Ave" on the piano version) and that the sweet ending should be more closely miked to accompany the close-up in the film. Of course, Lanza had already filmed the scene by then, so this represents a rare instance of his singing being (partially) re-recorded after filming rather than before it. 

[Derek McGovern]

Glad you liked it, Joe! 

The film version has warmer sound than the piano version---and I do think the organ works better as an accompaniment---but it's great to hear the original rendition in one unedited take. Glorious stuff!

Here's the film version for comparison. As I mentioned earlier, only the opening and closing phrases are different from the piano version.

Cheers

Derek 

[Barnabas Nemeth]

Agree, the film version has warmer sound and singing than that of piano version. For me the organ accompaniment seems more suitable than the piano in this case, indeed. But the piano version is also very good rendition, and a revelation for me. Thanks for it.. Barnabas

2012/10/24 Derek McGovern <derek.m...@gmail.com>

[Derek McGovern]

Hi Barnabas

Yes, the piano version is a revelation. Bear in mind, of course, that the singing is identical to the film version except for the opening phrases "Ave Maria/gratia (pronounced "grazia" by Lanza) plena" and the final "Ave Maria." 

It's a shame RCA didn't simply release the piano version---with or without the substituted organ accompaniment. While I can understand why they didn't go with the film version, the recording they actually released on LP/CD is slightly "off." It's not just the opening phrases ("Ave Maria/gratia plena") that are less well sung---somehow even the organ doesn't sound quite right on the "tecum" of "dominus tecum." Weird! (You can hear for yourself on the attached.)

Cheers

Derek 

Latin Catholic Prayer Version Ave Maria, gratia plena, Maria, gratia plena, Maria, gratia plena, Ave, Ave, Dominus, Dominus tecum. Benedicta tu in mulieribus, et benedictus, Et benedictus fructus ventris (tui), Ventris tui, Jesus. Ave Maria.

Direct English translation Hail Mary, full of grace, Mary, full of grace, Mary, full of grace, Hail, Hail, the Lord The Lord is with thee. Blessed art thou among women, and blessed, Blessed is the fruit of thy womb, Thy womb, Jesus. Ave Maria.

[Barnabas Nemeth]

Just gorgeous!

2012/10/26 Derek McGovern <derek.m...@gmail.com>

[leeann]

Derek, how splendid to have these comparisons! The unreleased piano version seems a consummate rendition to me--perhaps influenced by the fact that Gounod originally worked out the melody as a piano piece. (Although it seems that several stories are out there about the original words; one thing seems certain--it didn't start out as the "Ave Maria.".)  It just seems that the piano and the voice work together, that the piano supports the consistent subdued, perhaps understated reverence in Lanza's voice, and regardless of the religious orientation of the listener--the intent of the piece is clear. Thanks, Lee Ann