Miscellaneous Lanza-related questions/comments (Jan-Feb 2012)

[Derek McGovern]

Please use this thread for any general Lanza-related questions or comments that don't warrant a thread of their own.

[Operafocus]

OK, I'll start:

There's something about this recording of "E lucevan le stelle" that
somehow, for me, just sums up everything Lanza is about. The passion,
the way he lives and breathes every bit of emotion in the words he
sings, how he seems to lose himself in the aria itself... I think he
would have made an absolutely outstanding Cavaradossi in time. I've
seen Tosca on two different occasions, and been disappointed with the
tenor performances both times. This is a man who's about to be
executed, who mourns how he'll never experience sharing the love he
feels for this woman, and the night before his death has realised how
dear life is to him. I mean, powerful stuff. You can't sing this with
a straight face and not convey some sort of emotion. Yet, I've heard
some of the most uninspiring versions of this aria that makes you want
to throw things at them.

THIS is what it should sound like: http://www.youtube.com/watch?v=MO7F8aNuqMw

Terri (sighs a little)

[Derek McGovern]

Hi Terri: You'll get no argument from me about that thrilling and completely believable "E Lucevan le Stelle"! (In fact, I wrote an essay about the performance.)

There are so many wonderful renditions of this aria by Lanza that, for once, we're spoilt for choice. I'm very fond of this version, for example, which although not Lanza's best vocal performance, is very moving.

But I still feel that his best-ever version of the aria is this 1950 recording, magnificently reproduced here:

http://www.4shared.com/mp3/lm-D0pY7/E_Lucevan_le_Stelle__Mario_Lan.html?

Cheers
Derek

[gary from NS]

Derek,Terri, et al,

This 1950 recording of "E lucevan le stelle" is to me the definitive example of this aria.

There is nothing I can say, or add, to describe Lanza's recording,as noted above on Derek's post.

Terri,I agree with your comments,and this piece does truly sum up what Lanza was/is about,regarding his delivery and his voice.

Those non-believers who have stated "Lanza could not sing opera"  need to hear this once.

This recording says it all. 

I have listened to a host of wonderful tenors deliver this aria,but in my opinion no one can do it better than Lanza.

Cheers,

Gary   

[JOE]

Derek, I note that the “other forum” has taken to discussing your song/aria voting choices. Imitation is the highest form of compliment. Good for you!

[gary from NS]

Hi Joe..you are quite correct. I just  had a brief look into the Rense forum, as I do now and then; and as you say they were discussing the two latest song/choices.

I look forward to this segment of the forum.It leads to listening and learning,and generally some good discussions.

It's is pretty neat to see how varied our individual choices (likes/dislikes) are, pertaining to the pieces in question.

Cheers

gary

[Steff]

The latest news on baritone Dimitry Hvorostovsky:

"Opera Superstar Dimitri Hvorostovsky to Take Orpheum Stage"

http://www.phoenixnewtimes.com/2012-01-05/culture/dmitri-hvorostovsky-russian-baritone-superstar-joins-the-phoenix-opera-january-10-for-a-guest-performance-at-the-orpheum/


"Dmitri Hvorostovsky is to opera what David Beckham is to soccer. What Brad Pitt is to Hollywood. He's the Lady Gaga of the aria set. And he's coming to town. [...] 

Hvorostovsky, who's often photographed in snug T-shirts, his silver hair tousled, is surprisingly affable for a superstar. Although he refers once to "the common people who have no idea about opera," he's humble enough to admit that he didn't come to opera after hearing Renato Bruson singing Verdi or seeing Tito Gobbi as Scarpia in Tosca. "It was Mario Lanza," he says of the American tenor and Hollywood movie star of the '40s and '50s. "He had a thrilling voice, and the first time I heard him, I thought, I want to sing like that [...]"

[Derek McGovern]

Many thanks for this, Steff. I knew that Hvorostovsky was influenced by Lanza, but it's always great to see him reminding the public of that fact!

[Steff]

Check out this: about Mario Lanza and Andrea Bocelli

http://www.sandiegoreader.com/weblogs/jam-session/2012/jan/09/fraudulent-perversion/

which also refers to

http://www.sandiegoreader.com/weblogs/jam-session/2012/jan/03/50-megaton-voice/

which is about George London.

[Derek McGovern]

Thanks for those links, Steff. 

Thank goodness the delightful "Cafferata" put the writer straight! There were some absurd statements in the first blog---e.g., "Mario Lanza was the Andrea Bocelli of his generation and I hope George London vocally smashed him every night"---and I'm amazed that the writer, Garrett Harris, rates Lanza's vocal gifts below those of Del Monaco, Corelli, Bergonzi, Di "Stephano" and others. As for his suggestion that praise of Lanza from great singers such as George London doesn't really mean much since "it's impossible to get anything but a compliment--publicly" from one singer discussing another, well, hardly!! While it's true that singers may only occasionally dismiss another (remember Hvorostovsky on Bocelli?!), very few indeed would go the other extreme and risk ridicule by praising someone as highly as London, Tebaldi, Albanese (and many others) have done unless they really meant it.  

Frankly, Renata Tebaldi's opinion of Lanza means a heck of a lot more to me than that of Mr. Harris. 

Cheers

Derek

[Steff]

Hi Derek,

I am glad too, that the the remark "Lanza being the Bocelli of his generation" was somewhat corrected. I only hope that such comparisons only mean to describe the immense popularity of an artist, not his vocal abilities ....

Steff

[JOE]

Hi All, A general question re: The Canadian Tenor Ben Heppner. I have always been attracted to his voice, yet, one never hears much about Heppner! BTW he was also a great fan of Mario. I know he has had physical problems with his voice in later years, yet it still strange to me we hear so little of him. I was curious about what the forum and our singers feel about Heppner's voice.

http://www.youtube.com/watch?v=AcH54Dd7QX4

 

[JOE]

Mario was the "Babe Ruth" of music!  Many "microphone" tenors of today get a lot of attention ( just like the juiced up modern ball player), but there was only ONE Babe and there was only ONE Mario....end of story!.....Joe

[norma]

I liked this very much

                                                  Norma

[Derek McGovern]

Hi Joe: Heppner has popped up in discussion here from time to time. A fine singer. If you type his name into the search function, you'll see the threads that he's been discussed on. I know that Lou is a great admirer, describing him as having a "clarion voice of lyrical beauty and dramatic power."

Cheers

Derek

[Derek McGovern]

Hi Steff: I've just posted a response to the first of Garrett Harris's blog comments on Lanza at the San Diego Reader:

http://www.sandiegoreader.com/weblogs/jam-session/2012/jan/03/50-megaton-voice/ 

Cheers

Derek

[Steff]

HI Derek, now let's see if you get any substantiate reply.

Incidentally, I go with the following remark from a review about a Bel Canto Trio concert which took place in Wisconsin in 1947:

"[...] the singers were best in duets and trios, although tenor Lanza's "Women Is Fickle" was outstanding, [...] their voices blended and balanced neatly, [...] all had high regard for clear ennunciation."

This really does not sound as if any of the singer outdid the other. On the contrary, they were of equal rank.

Steff

[Steff]

Okay, I must admit that I am a little puzzled at the moment.
Actually, I've always thought that the song "Be My Love" was especially written for Mario, who introduced it in the film "The Toast of New Orleans."  Now, surprisingly,  I read the following story in a newspaper:

"Hit Tune Had Tragic Birth - While Composer Wrote, Girl Was Killed"

"Hollywood, Cal. (AP) - Composer Nicholas Brodszky was telling how he wrote his current hit tune "Be My Love" and its tragic birth.
He was in London in 1942, he said, and deeply in love. One night he had a date to attend the opening of a new floor show at a night club.  "I had been working all day developing a melody that had come into my brain that morning," Mr.Brodszky said. "I was so enthusiastic I wanted to stay home that night and work."
He mustered the courage to phone and break the date. The girl was furious, vowed she would never see him again, and went to the club alone.
That night, during one of the heaviest bombing raids of the war, the night club took a direct hit. All inside were killed, including the girl. Working alone, unaware of the tragedy, Mr. Brodszky composed the song that was to make him famous." (Sunday World Herald, Aug 5, 1951).

I wonder, is this only an invented story? But, if  the story is indeed true, than the song already existed 8 years before "The Toast of New Orleans" was released in the U.S.A. But mabye it was not yet known publicly before TONO? Did Brodszky only re-arrange the song for Lanza, and Sammy Cahn eventually add the lyrics?

Steff

[Derek McGovern]

Hi Steff: I wouldn't be at all surprised if the story were true. Certainly, the music was written before lyricist Sammy Cahn ever met Brodszky (as Cahn mentions in his 1974 autobiography, I Should Care). Cahn was amazed to find on their first meeting that the music to what Brodszky called "Love Theme for Mario Lanza" had not only been composed, but also printed ---"No chance of changing a note with this man!" he lamented.

Yes, I'm sure Brodszky would have reworked his piece (prior to meeting Cahn) to make the most of Mario's range.

And Cahn's opinion of the young singer?

Now if you've only heard Mr. Lanza on a record or a tape or in a movie, you've never heard him at all, because no mechanical reproduction could capture the startling brilliance of that voice. It scared the hell out of you. . . . I wish we could have Mario Lanza with us today.

On the British "Parkinson" TV show in the 1970s, Cahn was just as enthusiastic, telling fellow guest Placido Domingo that the power of Lanza's singing had broken his glasses :)

Cheers
Derek

[Steff]

Hi Derek,

In Michael Parkinson's "Parky's People - the lives, the laughs, the legend ..." which I think is based on interviews from his BBC show, the first encounter of Brodszky and Cahn is described as follows (now, was the  Parkinson TV show which you mentioned in your post- with fellow guest Domingo- a different one??).


Michael: Let's talk about some of the people you've written songs for. You wrote the song for Mario Lanza 'Be My Love.'

Sammy Cahn: I must tell you, Lanza was the most incredible experience of my life. The phone rang and it was MGM's Hungarian in residence, Joseph Pasternak, and he said, 'Can you come out to the studio, I am about to make a film to bring out a new talent, Mario Lanza, and I want you to meet a Hungarian composer named Nicholas Brodszky.' May I describe Mr. Brodszky for you?

Michael: I'll try and stop you. Carry on.

Sammy: He was a short statured gentleman with jet black patent leather hair, and the kind of a shape, if you pushed him over, he roled back up. Paternak said, 'Nicky, will you go to the piano please and play for Sammy the love theme for Lanza." Nicholas Brodszky went to the piano and he played the love theme for Lanza and Pasternak said, 'Can you put words to that?' I said ' I could put words to it if I could hear it. This fellow plays like he has eleven fingers on each hand. I dunno what the melody is.' So for the first time in the history of Hollywood a pianist was hired to play for the composer. But luckily, Nicholas Brodszky had had operatic training, and it was very helpful to me because I made him sing every word as I wrote it to each note so I could have some idea of how it might sound when it came out of that enormous voice box of Lanza's.


Derek, as you mentioned, the melody was there before Cahn put words to it. Incidentally, provided that the story about "Be My Love" is true (that it was already composed in 1942) I wonder if the melody already had any lyrics back in the early 1940s. And was it even published then?


On another note, though still regarding "Be My Love." In the book "The craft of lyric writing" the author Sheila Davis writes:
"Poetry anthologies are a great source for titles. "Always True to You (In My Fashion)" is by Cole Porter via Ernest Dowson, the poet who also provided Johnny Mercer with the title of his Oscar winner, "The Days of Wine and Roses." Sammy Cahn's "Be My Love" came from Christopher Marlowe [..] ... Something for the English literature expert, LOL.
 
Steff

[Derek McGovern]

Hi Steff: The Parkinson show I'm referring to screened in December 1980, and there were three guests: Domingo, Cahn, and pop singer Cliff Richard.

Domingo actually annoyed me on that programme, as he mentioned he'd heard a story about Lanza supposedly walking out of a performance of La Traviata. (Someone must have been watching Serenade and confused the Otello walk-out scene with real life!) I was very disappointed that Domingo would bring up the kind of hearsay that played straight into the hands of the many Lanza-knockers. To his great credit, though, Cahn responded by praising Mario's vocal ability.

Someone from the British Mario Lanza Society told me that Domingo later apologized for his comments, but, if he did, it wasn't on Parkinson. Actually, I always had the impression that Domingo was reluctant to praise Lanza in public in those days---probably because he feared bring ridiculed. I remember how fashionable it was in the opera world in the 1970s and early 80s to look down on Lanza. In fact, Domingo didn't even mention Mario in his 1983 autobiography---incredible, really, when you think that he told CBS only a few years ago that he owed his love of opera---and even his career---to "a kid from South Philadelphia."

Still, I give Domingo full credit for hosting the American Caruso documentary in 1982, and for his much later comments about Lanza to Opera News and, of course, in Armando's  wonderful book.

Cheers
Derek 

[Steff]

Hi Derek,

Now that you told me about Domingo's statements, don't you think it somewhat striking that both tenors, Pavarotti and Domingo, started emphasizing their Mario Lanza inspiration almost at the same time, namely in the early 1980s? It was the time, when Pavarotti's movie "Yes Giorgio" was released (1982) and then, only one year later, the Lanza documentary "The American Caruso" hosted by Domingo. 

This is only my opinion, but I think, first, it was MGM that brought Mario's name back to people's mind. In 1980, MGM was searching for a new singing operatic star, trying to take up Mario's box office successes from the 1950s. They decided that Pavarotti was to be the appropriate "successor." Well, among all tenors worth considering he certainly fulfilled best the "Hollywood- star-ambitions- image" as I would call it (in 1981, Walter Scott wrote in his column "Personlity Parade:" Pavarotti was signed by MGM because of his personality. He is an extraverted, childlike, endearing tenor whose idol was the incorrigible Lanza.").

I really may be wrong, but I feel that only from this time on Pavarotti (and also Domingo?) remembered his early "teen admiration" for Lanza (I recall an interview in a newspaper where Pavarotti stated expressively that as a young boy, he hadn't know anything about Lanza.), and I even suppose that this was a necessary part for the promotion-machinery that went along with the film "Yes, Giorgio." From this moment on,  it became "fashionable" to publicly mention Mario's name and to admit having been inspired by him in one way or another.

Nowadays, in times of Andrea Boccelli and Paul Potts, in which cross-over etc goes without saying, it is all the more "chic" for singers to include Mario Lanza's name in their biographies. Yet, IMHO, there are a few singers (certainly not all!) who do this in a way of "bandwagon-jumping"  or "free riding," Just because it is "in."  You yourself may have noticed how many times google alerts has provided us lately with links about singers and "wanna-be" singers who mentioned the Lanza inspiration factor.
But of course, the positive thing of all this is that Mario Lanza remains a musical topic.

Incidentally, it's no secret that I've never been a Pavarotti fan, consequently I've never read any biographies on him. Is there mention of Mario Lanza in any of the books written about Pavarotti?


Finally, I would just like to quote the following newspaper comment about "Yes, Giorgio": "The film makers have exhumed the style and substance of the Mario Lanza films in such detail that you would swear this movie fell unnoticed behind a file cabinet at MGM in 1951 and was only recently discovered during a remodeling project. (Omaha World Herald, Dec. 25, 1983)

Steff

[leeann]

Hi, Steff, I'm going to throw some speculation in here. Lanza's fans and fan clubs around the world that sprang up for years after his death, as well as the record companies that kept releasing work after work might argue that he hadn't really ever left people's minds.

But I think several things were going on around before the early 1980s with Domingo and Pavarotti and other opera stars--that is, a movement to become more accessible, more appealing to a general public--as Caruso was.  Both Domingo and Pavarotti had already entered the pop-oriented world. Comparisons with Lanza probably were inevitable, and it doesn't seem that it was the singers who initiated them, but media and publicity machines (as you point out for Pavarotti). They took the singing-movie-star approach; singers, on the other hand and over time,  look at his great voice and musical influence.

Pavarotti went pop with a lot of negative publicity for sacrificing artistry for superstardom. (That's a long, complicated story. In terms of the movie, I believe there was a lot of behind-the-scenes work to rescue a film that wasn't headed for a big box office.)

Domingo entered the world of pop with dignity. He had included "Be My Love" and "Because" in a 1976 album for Deutsche Grammaphon that also featured a very Lanza-like selection of songs such as "Granada,"  "Siboney," "Ay-ay-ay," "Core n'grato." Of course other splendid tenors were recording those numbers as well, but it's not a leap to say that Lanza was integrated into Domingo's musical culture.

Then in 1981, he released an album with John Denver, Perhaps Love.  And Domingo let it be known there would be more of the popular genre to come, and there was, of course. He began fielding questions from the press about comparisons to Mario Lanza--particularly when there was talk of his filming Merry Widow. He answered, "No, I am not going to become another Mario Lanza. I couldn't, even if I wanted. It's entirely different making a film at my age, your standards are set; you have your discipline, and know exactly what you want to do. Lanza was ruined by Hollywood before he had a chance to find out who he was."  (That was in the New York Magazine in 1981, then in 1982 Billboard asked, "Is he the Mario Lanza of the 1980s?")

That's a painful quote from Domingo, but it hints that he had thought about Lanza before, done more than skim the surface whenever that process may have begun.  Best, Lee Ann

[Derek McGovern]

Hi Steff and Lee Ann: Thanks for your posts. This is an interesting topic!

Steff: I never had the feeling that Pavarotti in the 1980s invented his youthful admiration for Lanza. The fact that he didn't know anything about Lanza when he was a young boy isn't surprising, though: after all, Pavarotti would have been in his mid teens when he first heard him. In other words, Mario wouldn't have been the formative influence on Pavarotti that he was on, say, the younger Domingo, who was ten when The Great Caruso was released, or Carreras, who was just six when he saw the movie (and promptly fell in love with opera).  

I think Pavarotti had a bit of a love-hate attitude towards Lanza. On the one hand, he would praise him extravagantly in numerous documentaries and interviews---"I hope to achieve one ten of what Mario Lanza did for opera," I heard him say on radio in the early 80s---and yet on the other (as Armando can vouch), he was quite capable of slagging him off in casual conversation.

I don't feel that Domingo was jumping on the Let's-praise-Lanza bandwagon in the 1980s; instead I feel that by that time he was simply more comfortable about acknowledging his love of Lanza. He certainly didn't need to tell Opera News that of all the singers he'd wished he'd heard in person, Lanza was at the top of his list.

Lee Ann: That was a very interesting article on Pavarotti by Alan Rich! If Rich thought that Pavarotti was squandering his talent as early as 1981, then you can imagine his thoughts on Lanza :) Incidentally, I was amused to read Pavarotti's comment in that article that he was 45, and that at most he had another ten years of singing left to him. Around the same time, Domingo made a similar prediction about himself---that he'd retire from the stage when he was 50 or 52 :) 

I'm sure you're right that Domingo had reflected on the tragedies of Lanza's life long before he made that 1981 comment about Hollywood ruining him. And he certainly made it clear that he was familiar with Lanza's discography as early as the mid-1970s. On the back cover of that 1976 album you mentioned, he's quoted talking about how Lanza made "Be My Love" and "Because" famous. Which reminds me: that album was my teenage introduction to Domingo, and, although the record shop owner I bought it from swore that old Placido sounded "exactly" like Mario, I was disappointed when I heard it. Domingo sounded to me like Harry Secombe with a Spanish accent on the English songs :) (I liked him doing "Time After Time," though, on his 1981 album with Denver.)

Cheers
Derek

[Steff]

Hi Lee Ann and Derek,

Lee Ann, I already was familiar with Domingo's remark about Lanza in the NY Magazine (1981) and Derek, with my "bandwagon" remark I was not referring to Domingo (sorry if I gave this impression) but to some of today's singers, who just mention Mario, simply stating that they were inspired by Lanza or that they like his music, without ever explaining in which way or to which extend he has influenced them.


Incidentally, do you know the article "Plácido Domingo - Operatic Whirlwind"  (Trenton Times, March 12, 1983)?
The author, Fred Robins says (uncharmingly for Lanza): "Plácido Domingo, spoken slowly, the name, just like the voice of its owner, is like a caress. Not since the early days of Mario Lanza has any romantic tenor lured the rapt affection of so many members of the opposite sex. But all comparisons between MGM's beefly belter, who was an "opera star" only in movies, and the Met's svelte, golden throated crowd pleaser end there. Arrogance, say those who knew Mario Lanza, was the keynote of the man. The same charge may never be laid against Domingo."

The American Caruso documentary is mentioned briefly in this essay,  no more referring to Lanza, but a general statement:
"I think I am very lucky," he said, "to be in this moment when we have not only opera but television and the cinema. You can leave behind a document of what you do, That is something that will remain forever. But besides that, there is the possibility to reach everybody through motion pictures and TV, and by recording popular songs, too. I feel I can approach them all by these secret doors and then bring them to opera by the main door."



Derek, re Pavarotti, I think he must have been around 16 when he would see Lanza's films in Italian cinemas for the very first time (I don't hink that any of Mario's early movies were released in Italy before 1951 (remember the "difficulties" regarding the realease of "The Great Caruso" in Italy).

Incidentally, you mentioned Pavarottis love-hate re Lanza, what about Pavarotti's opinion about Domingo (same article, see above) and his "Perhaps Love" album:" [The recording was in] "bad taste because you use the name of another person to try to enlarge your audience." "It's the only best-selling album he has."


Steff

[Armando]

Steff: Pavarotti has often remarked that at the age of fifteen, after seeing Lanza in a film, he came home and started imitating him in front of the mirror. It could have been either That Midnight Kiss, or Toast Of New Orleans, which were released in Italy before The Great Caruso, however there’ s no question that Lanza made a big impact on him as he did on Domingo, Carreras, and countless others.  

There’s no doubt that Pavarotti was in awe of Lanza’ voice. He told me so more than once and on one occasion, when we were discussing voices, he was humble enough to tell me that there were better tenor voices than his when he started studying and that Lanza’s voice was superior to his in terms of colouring and richness of tone. In his words, “He could have sung a wider repertoire than me.”

The other tenor that Pavarotti absolutely loved, his favourite among those performing in opera, was Di Stefano.

[Michael McAdam]

Steff: I read Marlowe (plus Chaucer et al) at University many moons ago and the Be My Love title source you quote really does ring a bell.

But, all that aside, I must say one more time that you, meine liebe dame, are really amazing with the incredibly interesting and detailed bits & pieces you find and provide for our reading enjoyment. Wunderschön und vielen dank!

 

Mike

[Derek McGovern]

Hi Steff: That was a gratuitous swipe at Lanza from Fred Robins! As I've said many times, if Lanza was as "arrogant" as these lazy writers like to assert, then he would never have been assailed by the self-doubts that led him to destroy his health. As John Green, who had the highest admiration for his talent, told Armando: "[Lanza] was in truth as insecure as it is possible for a human being to be." Many others who were equally fond of him have made the same observation.

By the way, I've just found this old photo in my files of Armando interviewing Pavarotti. I'm guessing it was taken during the early 1980s:

[Derek McGovern]

On another note, though still regarding "Be My Love." In the book "The craft of lyric writing" the author Sheila Davis writes:
"Poetry anthologies are a great source for titles. "Always True to You (In My Fashion)" is by Cole Porter via Ernest Dowson, the poet who also provided Johnny Mercer with the title of his Oscar winner, "The Days of Wine and Roses." Sammy Cahn's "Be My Love" came from Christopher Marlowe [..] ... Something for the English literature expert, LOL.
 
Steff

Hi Steff: "Be my love" is indeed found in a poem by Marlowe (a fascinating if enigmatic character, by the way, who was memorably portrayed by Rupert Everett in Shakespeare in Love). The phrase is found three times in The Passionate Shepherd to His Love (first published in 1599), including the opening line "Come live with me and be my love":

http://www.poetry-online.org/marlowe_the_passionate_shepherd_to_his_love.htm 

Cheers
Derek

[Steff]

Hi Armando,
thank you for this information on Pavarotti.
Incidentally,  wasn't Di Stefano also Carreras' favorite tenor?

Steff

[Steff]

Hi Derek

Joe Pasternak gives another version as to how the song "Be My Love" was born:

"You remember 'Be My Love' that Mario Lanza sang?" he asked. "Well, the song writer Nicholas Brodszky was at my house and we were discussing the music for "Toast of New Orleans. He asked me what type of city New Orleans was. I said that it was a little bit French, a city of love. That's how the song was born. I thought you poeple would adopt it as a theme." (The Times Picayune, New Orleans, Nov 2, 1962)

Steff
P.S.: Thanks for posting the great picture of Pavarotti and Armando.

[Steff]

This is a new video that "Stoltapaura" put on youtube today.
It's a film sequence from "Because You're Mine" dubbed into German. I have to admit that,  apart from "The Great Caruso" and "For the First Time" I'v never watched any of Mario's movies in German language. However, I may be completely wrong but this sounds not like the voice that was used in "The Great Caruso" which I understand was the actor Axel Monjé.

http://www.youtube.com/watch?v=sQ6XKw2tJnc

Steff

[Armando]

Hi Steff: Yes, Di Stefano is Carreras’ favourite tenor. The voices are very similar and it’s obvious that Carreras has modeled himself on his predecessor.

Apropos the above, here’s an amusing little anecdote.  

During a meeting with Di Stefano back in 1974, we were discussing various singer and Di Stefano came up with the name of Carreras and told me he was the best of the current tenors. As no recordings had yet been released I told him I had never heard of Carreras. A couple of years later when the first LP of the Spanish tenor came out I called Di Stefano, and told  him that I was not surprised he liked Carreras so much,  “He sings exactly like you” I said, to which Di Stefano replied “He has good taste, eh?”  

Derek: the photo with Pavarotti was taken in 1991.

[JOE]

Derek.....do you ever have any plans on visiting America? To my knowledge, you have never come to the USA ( e.g. Philadelphia, NY City)...and I am sure that many of your forum participants would welcome the opportunity to meet you. I hope you will give it some thought. Just think: The Met, The Mario Lanza Museum, the many Americans that you know, Big Apple, D.C and etc Come on gang, lets start a "get your fanny over here" campaign on Derek!

[Derek McGovern]

Hi Joe: I'd love to visit the US again. The last time I was there was in 1989---and that was only to L.A. and Honolulu. Next time I'll definitely take in New York City, Philly, Washington D.C., etc. So many American forum members to meet and Lanza landmarks to see! I'd also like to attend one of the annual Bernard Shaw festivals held in North America by the International Shaw Society, of which I'm a member. (Shaw's Pygmalion was the focus of my PhD.)

But for now I need to restrict my overseas trips to my home country, New Zealand. One of my parents has incurable cancer, so as I'm sure you can appreciate that family has to come first.

I promise you, though: I will *eventually* make it to the U.S., and I'm sure I'll have a blast there.

Cheers
Derek

[JOE]

I Know that Mario was more or less "forced" to sing some pretty bad songs in his movies e.g. Pineapple Pickers etc.....But I was wondering if we have knowledge of any that he turned down, and why he turned them down?. I know of the one concert he did not want to release but I was thinking more of individual works.

 

 How the selection of songs that Mario (or any singer, for that matter) makes in a release , or an  album was never clear to me. For the most part, who does the selection? The Producer, the artist, the Manager? (probably no set formula here I would guess). I feel certain that if it been up to Mario solely, we would have been left some better compilations. Of course,  I realize that many of the packages released were after his death.

[Steff]

Now, I am somewhat puzzled.
I may already have mentioned that it's been years (maybe even decades) that I watched "The Great Caruso" in the dubbed German version. I must have been a teenager and certainly did not yet have any English lessons at school (poor me, my first foreign language was Latin).

However, someone has put the complete Great Caruso film in German on you-tube now (10 videos, you find them when searching for "Der Grosse Caruso"). I picked out video no.9 and it starts with Ann Blyth singing "Loveliest Night of the Year."  BUT, to my surprise, the song is sung in German "Wenn Du Dich verliebst."


Now, who can tell me, who sang this song instead of Ann Blyth in the German version?

Steff

http://www.youtube.com/watch?v=MzGRj_p24WE&feature=related

[Derek McGovern]

On Tuesday, January 31, 2012 JOE wrote:

I Know that Mario was more or less "forced" to sing some pretty bad songs in his movies e.g. Pineapple Pickers etc.....But I was wondering if we have knowledge of any that he turned down, and why he turned them down?. I know of the one concert he did not want to release but I was thinking more of individual works.

 

 How the selection of songs that Mario (or any singer, for that matter) makes in a release , or an  album was never clear to me. For the most part, who does the selection? The Producer, the artist, the Manager? (probably no set formula here I would guess). I feel certain that if it been up to Mario solely, we would have been left some better compilations. Of course,  I realize that many of the packages released were after his death.

Hi Joe: I think this thread ("Artistic Controls") basically answers your questions:

https://groups.google.com/d/topic/mariolanza/hT0WBDPolbU/discussion

I'd just add that I don't feel Mario would have recorded something like "Pineapple Pickers" against his will. In fact, he even happily alludes to that song in a 1958 Berlin interview, calling it "one very very big number" by Georgie Stoll that he sings in For the First Time. Now if he'd hated it, he certainly wouldn't have brought it up to that reporter. No doubt he saw it as a harmless piece of fun, just as he (presumably) did the previous year, when he'd sung another super-lightweight Stoll composition, "There's Gonna Be a Party Tonight," in Seven Hills. Besides, Stoll was a friend, and the sentimental Lanza had a history of recording compositions by people he liked even when he wasn't particularly high on the song, such as Callinicos' "You Are My Love" and Brodszky's "Serenade" (the version that featured in the film). It was all part of his generous nature!

Cheers
Derek


 

[Derek McGovern]

Hi Steff: How curious! That's the first time I've ever come across a dubbed film in which even the singing has been changed. Someone obviously went to a lot of effort, though goodness knows why!

I don't recognize the singer, but she was obviously chosen because she sounds vaguely like Ann Blyth (though she goes off-key here more often than dear old Ann does :))

Cheers
Derek


P.S. My first foreign language was Latin as well. It was an extremely unpopular subject at my high school---so much so that in my final year I was the only student who took it. But I had great fun. I had just got into Lanza in a big way, and my ancient Latin teacher was quite a fan himself. You can imagine the direction that our lessons often went in :)

[Steff]

Hi Derek,

I just checked some film sequences from the German TGC film version and I see Dorothy Kirsten's "Sweethearts" was not duhttp://www.mariolanzatenor.com/forum-mario-lanza-tenor.htmlbbed in German, neither was the short sequence of "Under the Bamboo Tree." I suppose the reason that "Loveliest Night" was sung in German simply was to facilate the popularity of the song in Germany -  surely in regard of the record sale. German people were able to understand the meaning of the lyrics (BTW, here in Germany we are used to have all films dubbed instead of reading subtitles).

As for Latin at school, I started at the age of 10 and I cannot say that I took any pleasure in reading Caesar's "De Bello Gallico" (I was at a girls' school). "Asterix and Obelix" comics (are you familiar with them?) in Latin translation were published only many years later - too late  .... However, my favourite Christmas song sung by Mario, is "Adeste Fideles" and I love "Gaudeamus igitur," and "Agnus Dei." Seems that I've indeed been influenced to a certain degree.

Steff

[JOE]

What is it in the psychology of super talented, artistic performers which makes them such easy prey to life ending addiction? And, Yes, Mario needs to be counted in this group with his alcoholism and food addiction. The number of great artists who met early, self-imposed deaths is astonishing. However, brilliant performers in other fields seem to escape this e.g. financial, scientific etc...So maybe it has to do with “fandom”? At any rate, I wonder if anybody has ever conducted a serious study of these sad phenomena.?

[Doreen Jackson]

We did not know the man on a personal level, but what comes over to me through his films and stage appearances is of a gentle man, a trusting, patient person.  I believe because of this gentle, trusting demeanour greedy, grasping people in the guise of helping his career misused Mario.  He put his trust in them which some of them betrayed abysmally.  When he at some stage suddenly realised what was happening he must have been deeply hurt which hurt turned to anger resulting in the eventual bingeing on food, alcohol etc.  Add to that the everyday pressure of actually performing, rehearsing making public appearances and, of course, the films would be enough to send any human being into turmoil.

 

This could apply to many others in the entertainment business, or anyone in the public domain.  Mario had the added pressure of the "Opera" question hanging over him.  He must have badly wanted to perform on the operatic stage but how could someone in such turmoil, being involved in films, recording, radio appearances, concerts (all around the world) make the momentous decision to give all that up and concentrate only on an operatic career.  As I see it it would have meant virtually starting all over again, ditching everything that had become the norm for him which must have been a frightening thought.  New people would enter his life and exert their influences on him ..... so again more bingeing on food and alcohol. 

 

When his health began to deteriorate that, in my opinion, finally put paid to the opera question.  With constant warnings from doctors and well meaning people that he should "take care" I believe most of the time the advice was not heeded because he saw in these well meaning people yet another group of individuals trying to run his life; by this time he probably found it difficult to decide between the well meaning and the mercenary.  So, putting the shutters up he continued on the slippery slope which finally tipped him off with the tragic ending in Rome.

 

A momentously gifted man who gave so many of us great pleasure , still does with the legacy of music he left behind for us to enjoy, but a sadly misused, misunderstood gentle giant.

 

Doreen

[Derek McGovern]

Hi Joe: Very interesting questions! 

 

I'm sure we'd agree that financiers, scientists, engineers, etc seldom attract the kind of celebrity status---and all the public scrutiny that goes with it---which the biggest names in the performing arts are exposed to on a daily basis. I also feel that to be a great artist---especially a great singer or dancer or actor---certain qualities are essential: for example, vulnerability, sensitivity, and sensuality. Artistic temperament if you like. Calm, eminently sensible, rational and methodical people don't, in my experience, make great artists (although those same qualities might make them outstanding accountants :)) They're also much less likely, I would argue, to succumb to addictions.

 

I think it's pretty clear that people who are not super-sensitive, as Lanza was, will have a much easier time dealing with the pressures of fame. Let's face it: the thicker one's skin, the easier it is to deal with setbacks, disullusionment, betrayal, etc. And I have to ask myself: would I or any of my friends have emerged unscathed (psychologically speaking) if we were exposed to the kind of public dissection and criticism that a Lanza (or any number of contemporary figures we might name) had to endure? I think not!

 

Cheers

Derek

 

 

[Derek McGovern]

Peter Pappas (not a member of this forum) recently sent me the following question:

Robert Weede was so instrumental to Mario's early career, yet we never hear him mentioned after Mario made it. Why?

Hi Peter: You're certainly right that Robert Weede was a big help to Lanza in the early part of his career. Weede mentored Lanza, helped him with his vocal technique, got him engaged on the Great Moments of Music radio programme, and also sublet his New York City apartment to him.

I think the reason Weede drops out of accounts of Lanza's life after the late 1940s is that the latter had moved to Los Angeles in June 1948---and Hollywood---whereas the former continued his operatic career. They may well have lost contact after that, though I'm sure this was not a case of an ungrateful Lanza snubbing his former mentor. Their paths would have crossed again had Lanza gone through with those performances of Andrea Chénier at the San Francisco Opera in 1950. (Mario Del Monaco replaced Lanza, and Weede sang the role of Gérard, with Licia Albanese was Maddelena.)

The only later Weede reference to Lanza that I can find---and it reveals disappointment on Weede's part at Lanza's unfulfilled operatic potential---is his 1957 comment to Time Magazine: "Lanza had what I believe to be the greatest vocal gift of his decade — but that gem may never be cut."

It's a shame Armando Cesari (Lanza's finest biographer and a member of this forum) never got to interview Weede. The latter died in 1972, just a few years before Armando began interviewing scores of Lanza's friends and colleagues.

Incidentally---and this may amuse you---in the November 14, 1945 edition of the Berkeley Daily Gazette, the writer managed to confuse Weede and Lanza, writing that on Great Moments in Music "Robert Weede will sing the part of Othello . . . and Mario Lanza will be cast as the vicious Iago"!

Cheers
Derek

[leeann]

That's an awfully interesting question.  As a bit of a segue, but Weede-Lanza related, Lanza's huge 1951 concert tour included a performance in New Orleans at the end of March. As usual on that tour, Lanza's concert sold out, and newspaper publicity was plentiful. Robert Weede, too was scheduled in New Orleans, but the night after Lanza's appearance.

Ed Brooks, journalist and author of the regular column "On the Square" for the Times Picayune wrote, 

We have a suggestion, if you're disappointed at not being able to buy a ticket to the Lanza concert--or even if you already have tickets. The fellow who has given Lanza voice instruction, bariton Robert Weeded, veteran star of opera, radio, concert and recordings, appears in concert at Municipal Auditorium Saturday night, the evening after Lanza.

Weede is not a handsome young blade, like Lanza; he's a mature singer with a very pleasing personality and a grand voice. And we don't think he'll disappoint even the purely Lanza fans.

Two excerpts from that column are attached: the one quoted above, and the segment about Lanza's concert. Best, Lee Ann

[JOE]

Whatever became of the stereo recorded version of the Student Prince? One never hears much of it today and probably for good reason: I think it was a HUGE let-down after the first, definitive recordings from the movie. I realize the music was more faithful to the original score, but to me, it was like drinking Kool-Aid after tasting champagne. I have often wondered who authorized this revised edition as well as what Mario, himself, thought of it. I do realize the poor man was not in good health at the time (and maybe even financially strapped?)

[Derek McGovern]

Hi Joe: I'm sure it was RCA, not Lanza, who instigated the stereo remake of The Student Prince. RCA, after all, was anxious to capitalize on the then new craze for stereo recordings---and, in fact, if Mario had lived, he was going to re-record his Great Caruso album as well.

What I don't understand, though, is how anyone at RCA thought it would be in their interests financially to remove the best-selling MGM (mono) recording of The Student Prince from their catalogue for more than a decade in favour of the stereo remake. A crazy decision.

We have an excellent thread, by the way, on the 1959 Student Prince here.

Cheers
Derek

[Derek McGovern]

There's a discussion going on right now at the Opera-L forum regarding the size of Bjoerling's and Lanza's respective voices. (Naturally, I had to jump in :)) Along with the inevitable gratuitous putdown of Lanza, there have been some thoughtful postings. I'm taking the liberty of reproducing one of them here:

Bjoerling's "comfort zone" conjures up an interesting thought process, I doubt that he was altogether comfortable with himself, and seems to have had the odd demon within.

 

It would seem that he may well have had a vocal comfort zone, but I doubt that he thought much about that. Bjoerling was, in my mind, a singer who was born to the craft and via his own route he became the singer we all know so well today. When Jussi opened his mouth to sing, it was a process already in train, and when he was flying smoothly, the voice was solid and the sounds glorious.  I have listened to him now for more than fifty years (longer than he lived) and he was at best as near perfect as it is humanly possible to get, and at worst slightly dull, squally under pressure and occasionally sharp.

Bjoerling's acting was abysmal, the clips and films attest to a man with absolutely no idea of why he was there in a costume at all; he seems almost always to remember the blocking of each scene and moves with varying pace depending upon how quickly he remembers the relevant move. In some instances, he switches off when the other character is singing and visibly switches back on just before he is to have his turn. The varying comments from those who heard him live, seem to point to the scientific fact that a voice will sound louder or softer depending upon the theatre or auditorium acoustics of the individual venues, and the affects of surrounding singers, sets, instruments, orchestras etc.

Lanza was also a lousy actor, his films bear witness to a man with no comfort within himself what so ever, and a great strength in the non artistry of "walking acting."
Having said this, I am always impressed by Lanza's ability to feel. When he sings a love duet, he confesses it from the soul; he had, what I can only assume was, a natural ability to grasp the feeling and the heart of a song , aria, duet etc, and to convey that through the music, at this he was an absolute master. The voice was golden, glowing and full of ping! he was a magnificent instrument of excitement and vigour. Like Bjoerling, he had a problematic "comfort zone" something was very wrong for this young man, something we may never know.  In appearance, he seemed handsome, manly and physical, but in interview and in his personal demeanour, he seemed always to be a shy little boy. Bjoerling was probably the better technical opera singer, but then he had much more training and experience in that field than had Lanza. Bjoerling sang with more classical intelligence and more musical integrity than Lanza, but Mario was no slouch, no novice and could mix and match it with the best, without fear of failure. They were both great singers, both heavy eaters and drinkers, both short lived, both better singers than actors and both had dodgy comfort zones.

Regards,
Isaac  

 (Other posts on the topic can be read here.)

[Steff]

We often hear and read about singers being compared to Mario Lanza, but it is the first time that I read about a ballet dancer, and in this case even a very famous one, being compared with Mario": It is Nureyev and I found the following excerpt in the book "Men who dance: aesthetics, athletics & the art of masculinity,"brary: Change▼" 0""""""0 , written                written by Michael Gard.

[...] Notice here how Hanna has separated the skills of a male dancer into 'technical' and 'dramatic' components. As we saw with Nijinsky, this is a common dicursive technique used when describing ballet dancers. In his book Nurejew, the leading ballet critic Clive Barnes writes:

He has become the symbol of the male dancer .... The initial impact of Nureyev on Western ballet was obviously considerable. He seemed to jump higher than most of us had ever seen anyone jump; he spun with the impersonal intensity of a top; but most of all he projected a special image of a man in a role.... That was the moment when Nureyev could have become the Mario Lanza of the dance - not the dance proper, but the dance popular. This he rejected, and went on to become a new symbol of male dancing (Barnes 1982, p.11)."

Steff

[Derek McGovern]

British tenor Andrew Bain---a member of this forum---has just sent me the link to an extended trailer for his show Lanza, which he wrote and performs in. Do take a look at this if you have a moment. Andrew's in powerful vocal form here, and his show seems like a very clever mix of anecdotes and singing. I'd love to see it.

Here's the link:

http://www.youtube.com/watch?v=GEoqR_U7EoY

[leeann]

In the June 2006 issue of Opera News, Drew Minter reviewed Placido Domingo's then-recent album, Italia, Ti Amo.  Minter raises an interesting point. Domingo, he ways "pays homage not only to a country and a song genre but to the line of powerful, popular tenors to which he is the obvious heir: Caruso, Lanza et al.

The review includes this comment:

In Domingo's rendering of Tagliaferri's :"Passione," the lilt of the phrases, the generous use of portando and portamento, the vocal throb, all mimic Mario Lanza. Domingo performs the song in the same key as his predecessor, but at twice Lanza's age he cannot sustain the high notes to the same degree, nor does he sing with the same degree of brawn. Instead he offers something different, but no less appealing: dramatic truth. Where Lanza's gestures are all extroverted, and certainly arresting, Domingo brings to the waterfall of short phrases--"te vogli...te penzo..."--an inwardness that balances and enhances the big sostenuto moments.

It's an interesting comparison and occurs within a review that extols Domingo, yet simultaneously credits the exemplars, stating, for example, that Domingo's voice is more slender than Caruso's, less herald-like, yet heroic.

The review seems to build on this conversation re Lanza's influence on Domingo--and broadly, on his place in the grand succession of great tenor voices. Best, Lee Ann

[Steff]

Hi Lee-Ann, 

That's very interesting, and I just had to dig out the CD to have a look at the booklet, which says:

"Domingo has long been intimately familiar with canzoni: "I belong to a generation for whom these songs are inextricably associated with the voice of Mario Lanza, " he confesses, citing as well the recordings of Giuseppe di Stefano and Francesco Albanese as models in a tradition the he now carries on himself.

But in his wholly personal selection here, one will search in vain for such old chestnuts as "O sole mio" and "Santa Lucia": because, says Domingo, the most familiar pieces aren't necessarily the best ones. "I decided that a song like 'Santa Lucia' is really a bit too simplistic for me and that it's better left to the fishermen and pizzeria waiters."

 

    Steff 

[Derek McGovern]

Hi Lee Ann and Steff: I'd quite forgotten about that CD! We actually discussed it back in August 2006 on an earlier incarnation of this forum. Here's what Muriel, Armando and I wrote about it:

Has anyone listened to Domingo's new CD, a collection of Neapolitan and Italian songs entitled Italia: Ti Amo? Some of you might recall that it was discussed in the June issue of Opera News - a review by Drew Mintner that compared Domingo's renditions here with those of Mario:   

With his latest disc, Italia, Ti Amo, Placido Domingo pays homage

not only to a country and a song genre but to the line of powerful,
popular tenors to which he is the obvious heir: Caruso, Lanza et al.

This is a beautiful recital on any level, but it is all the more
remarkable considering its place in tenor's very long - and very
distinguished - career. [...]

 

In Domingo's rendering of Tagliaferri' s "Passione," the lilt of the

phrases, the generous use of potando and portamento, the vocal
throb, all mimic Mario Lanza. Domingo performs in the same key as
his predecessor, but at twice Lanza's age [a bit of an exaggeration -
Mario was almost 38, Domingo is 64 here] he cannot sustain the high

notes to the same degree, nor does he sing with the same degree of
brawn. Instead he offers something different, but no less appealing:
dramatic truth. Where Lanza's gestures are all extroverted, and
certainly arresting, Domingo brings to the waterfall of short

phrases - "Te vogli [sic]...te penzo..." - an inwardness that
balances and enhances the big sostenuto moments. [Huh? What about
the marvellous downward glissando that Mario sings on his second "Te
voglio"?!]

 

It's interesting that Mintner writes so much about Lanza here when in fact only six of the 15 songs were recorded by him! And, curiously, Lanza again comes up in this recent interview with Domingo (published on his website) in which Placido appears to be distancing himself from his predecessor: 

 

"I got to know many of these songs at a very early age. I belong to a generation for whom these songs are inextricably associated with the voice of Mario Lanza, although I personally have always been more fascinated by the recordings made by Giuseppe di Stefano and the lesser-known Francesco Albanese. Albanese sings the Neapolitan songs in particular with an incomparable charm that goes straight to the heart."

 

Hmmn. I have to wonder if Domingo really has listened to Mario's renditions! Of the six songs "inextricably associated" with Lanza on this CD, four of them are among Lanza's greatest recordings in my book: Mamma Mia, Che Vo' Sape; 'Na Sera 'e Maggio, Passione, and Tu Ca Nun Chiagne. All of these go "straight to [my] heart", at least! (The remaining two Mario-associated songs on the Domingo CD are Dicitencello Vuie and Musica Proibita.)

 

So I really have two questions: how well does Domingo sing on this CD and has anybody heard Francesco Albanese's versions of the same songs? I'm not familiar with *this* Albanese's voice, but Domingo's glowing comments have certainly made me curious to learn more! 

Derek

****************************************************************************************************************************************************************************************

 And Muriella responded:

Nope, x 3!!    It sounds to me like old Placido needs some remedial Mario! listening... .

While the reviewer Mintner rightfully includes Mario in his discussion, he should listen again to the Lanza *dramatic truth* . Mario's *brawn* was always backed up by intelligent interpretation. He sang exactly what the lyrics demanded. Give me the pathos in Voce e Notte. Give me the longing in Passione, the wistfullness in Santa Lucia Luntana, the desolateness in Fenesta Che Lucive, and the fun in Comme Facette Mammeta?. I'll give you a guy who knew how to get his message across!! He just *Wows* you....

*****************************************************************************************************************************************************************************************
And then Armando:

I don't have it and have heard it only once, some time ago.
I was pleasantly surprised. As I've said many times Domingo doesn't
have Lanza's voice, but then again who has? His approach is different
to Lanza's and at this late stage he certainly has to be careful with
anything above the staff, not that high notes were ever his forte. But
he is both an intelligent and musical singer and I can overlook his
shortcomings and concentrate on his artistry. I've heard recordings of
Albanese singing Neapolitan songs(he was Neapolitan)and from what I
recall he was pretty good, with a voice quality somewhat similar to
that of Caruso, and like his predecessor rather short in the upper
register, uncomfortable with anything above B flat.

*******************************************************************************************************************************************************************************************
Me again (28 Feb 2012): I've just reacquainted myself with Domingo's "Passione" from this album. I quite like it, but I feel he overdoes the histrionics from the get-go. Mind you, I'm hopelessly biased!

Here's the link:

http://www.youtube.com/watch?v=iAsQuqdVbjs

Cheers
Derek

[George Laszlo]

Lanza records for sale.

I wanted to make you aware of a web site where they auction vintage records from wax cylinders to 78's and newer LPs. The site is owned by Nauck's Vintage Records out of Spring, Texas. I have been on their mailing list for about 3 years now. They hold several auctions every year and you can bid in writing or on line. No need to show up in person.

The main web site is www.78rpm.com
When you get to the main page, click on Current Auction
Then you can click on the link to the on-line PDF catalog
Once in the PDF file, you can use the search function to find whatever you are looking for

In our case, when you type in LANZA and press return, the catalog will jump to the first item it finds. In auction #51, this happens to be item number 2609 which is ViR 10-3228, I Pagliacci-Vesti la Giubba/Ave Maria (Bach-Gounod), E-

The E- is the condition of the record.

To go to the next item, just click on the forward button within the PDF file. In auction #51, you will find 3 more Lanza records. I won't give them away here so that I don't spoil the fun of you doing it yourself.

If you want to bid, press the Bidsheet link on the main page. You will need to register first and then can get to the bid sheet and instructions.

Happy Hunting
George

P.S. - I have no link or financial interest at all in this company. Just thought you'd want to know about this resource.

[Derek McGovern]

Hi George: Thanks for the link to that website. Nothing there among the Lanza singles to tempt me, I'm afraid, but there may well be collectors among us who would love to own the vinyl versions.

One rare Lanza album that I've always wanted to have in pristine quality is the 1959 UK LP of For the First Time. This version featured different selections in one instance (a disappointingly strained "La Donna 'e Mobile" instead of "Pineapple Pickers") from the US version, but, more importantly, the sound was better---particularly on "I Love Thee" and the Schubert "Ave Maria" (which featured a different audio mix from the US album). I have a feeling the UK version was only released in mono.

But how's this for luck? While searching online just now for a photo of the UK album, I found not only the cover but the entire album available for purchase on iTunes!

http://itunes.apple.com/us/album/for-the-first-time/id378809470

The samples available for pre-purchase listening only allow you to hear a bit of "Niun Mi Tema" (which sounds gloriously warm if a bit distorted) and the "La Donna" (which has never been released on CD). The sound is mono. I'm very curious as to how this album ended up on iTunes, especially since it's not the stereo CD version. Needless to say, I'll be purchasing the album today!

Cheers
Derek

[JOE]

On Sunday, January 1, 2012 2:40:11 AM UTC-5, Derek McGovern wrote:

Please use this thread for any general Lanza-related questions or comments that don't warrant a thread of their own.

Is there any documentation of of ANY of Mario’s so called friends or associates aggressively and consistently trying to get him off alcohol? Where were these people when they really were needed? Apparently Mario’s wife (who had her own problems) failed him and I think Callinicos can be added to the “hand wringers only” group.  Sadly, we see this troubling behavior even with today’s celebrities. I was just curious as to whether we know of someone who stepped up for Mario?

[Derek McGovern]

Hi Joe: Terry Robinson and Constantine Callinicos both maintain in their respective books that they tried hard to stop Mario from drinking. And we certainly know that John Coast begged him---in that moving and chillingly prophetic letter of January 29, 1958 (reprinted in part on pages 248-250 of Armando's book)---to change his lifestyle or risk dying within a year. Doctors in the final 21 months of his life, beginning with Dr. Fruhwein in Munich, also pleaded with him. No doubt there were hangers-on around him who had a vested interest in not rocking the boat, but at least some people did try to make Mario see reason. And I don't think we should assume that just because Betty had her own problems with pills that she didn't realize that her husband was destroying himself (as Coast bluntly put it) and try to help him.

I think it was John Coast who also said that Mario's problems were "simple": "He eats like a pig and drinks like a fish." But of course the underlying reasons for both habits were not so simple. Insecurity? Frustration at himself for not following the path that his talent warranted? Something deeper than that? Who can say what goes on inside a person's head? But the man whom Otello Fava (his make-up man) on occasion found alone in despair, with his head buried in his hands, on the set of For the First Time clearly wasn't a happy person. And I think it's equally obvious that the self-destructive behaviour---the drinking binges, the crazy weight gains in a matter of days, etc---stemmed from that unhappiness.

In what I'd say was the happiest part of Lanza's life---the roughly four-year period immediately after he was discharged from the army in January 1945 until he became a Hollywood star---he didn't drink heavily, and his weight remained relatively stable. (He was certainly never obese, as he had been in the army, during this period.) Why was he happy? Because he was doing with his life what nature had intended for him.

As an aside, Joe, I still find it incredible that, to this day, some Lanza fans refuse to accept that Mario damaged his health from drinking. "Damon never saw his father drunk"---so Mario can't have had a drinking problem, I've been told. This same luminary also maintains that even if it were true that Mario's liver was in poor shape at the end of his life, that doesn't necessarily mean that excessive drinking would have been the cause of that ailment. No, it doesn't, but then to believe that Lanza didn't have a serious problem with booze (to the point that it compromised his health) means having to disregard the testimony of virtually everyone who was close to him---as if these people were all engaged in a plot to tarnish his name!

Cheers
Derek

[leeann]

I think I blew out my eardrums today. And possibly my headphones as well with the album of For the First Time you cite above, Derek.

Interestingly, this recording is also now on Amazon (Part I and Part II) for less than the price of a package of chewing gum--just 89 cents each.

This is the version you refer to, Derek,  that opens with "La Donna 'e Mobile" and does not include "Pineapple Pickers."  I downloaded both parts and have only listened to them only on a Sony Walkman mp3 player, with earphones.  It was gorgeous.

I don't trust my ears, however, to know whether it's a better sound than the FTFT/Caruso Favorites Album, or simply of greater volume, and it will be good have opinions from those who do know. For certain, though, the depth and breadth of Lanza's tones were amazing, the orchestration stood out, and Niun me Tema knocked my socks off.

Two caveats. First, the selections are  NOT separated into tracks: it's all one.  I was hiking when I listened, so I didn't have the opportunity to stop and start and scan the download for specific songs, so without that facility, it is listen straight through or backtrack totally to the beginning. Second, Part II of this download is a reprise of Niun me Tema, Ave Maria, Hofbrauhaus,  A, Mon Amour, and Gaudeamus Igitur.  Best, LeeAnn

[Derek McGovern]

NO!!! I spent US$10 downloading this from iTunes yesterday! Why didn't I think of checking on Amazon?! (It's currently available for $6 on US iTunes, but, as I discovered yesterday, as a NZ credit card holder, I was only allowed to buy it from the more expensive New Zealand iTunes store :()

So glad you enjoyed it, though, Lee Ann. Yes, the iTunes offering is in two inconvenient parts as well. Eventually, I'll get round to separating the tracks!

While the sound wasn't quite as pristine as I'd hoped, with a bit of distortion here and there (and other blemishes), the operatic material---"La Donna" excepted---is thrillingly reproduced. I didn't miss hearing the album in stereo at all. And, yes, the depth & breadth of his voice is quite something here, isn't it---and, contrary to what a certain guru on another Lanza forum would have us believe, there's nothing "throaty" whatsoever about Mario's vocal state on the "Vesti."

It's especially good to hear him so much more forward on "I Love Thee." He really was in splendid form that day.

Hope your eardrums recover soon :)

Cheers
Derek


 

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[Michael McAdam]

Not Lanza-related but just a quick aside for Derek and any others here who may not have used this source:

 

I discoverd a while ago that Amazon UK has vastly different pricing than the other Amazon's I peruse (Amazon .ca and Amazon.com) for the identical item.

Case in point: the 5-disc BluRay set of Planet Earth would have cost me $89 Cdn plus tax & shipping from either North American Amazon source; I got it from the Brit site for £26 ($43 Cdn) and.... no VAT or shipping charge!

 

I received my unbelievably-restored 50th Anniversary  BluRay set of Ben-Hur yesterday in record delivery time. It only cost me only £15.77 ($24 Cdn) from the UK Amazon people. The same 3-disc set from Cdn or US sources is $39.99 plus tax and shipping (do make sure UK discs are region-free).

 

Hope this is helpful info.

 

Mike

[Derek McGovern]

Hi Mike: Yes, I've long been aware of the price differences between amazon.co.uk and amazon.com. In fact, in my original amazon.com review of the 2004 twofer Serenade/A Cavalcade of Show Tunes, I urged people to buy that CD from the UK division instead, as it was being offered there for almost half the price. It's a different story now, though: the CD, which was a BMG UK release, seems to have been deleted from the official Sony catalogue in Britain and is now only available for "new" at a ridiculously inflated price from one of amazon.co.uk's marketplace sellers, while, curiously, amazon.com is still selling it as a not-too-expensive import:

http://www.amazon.com/Serenade-A-Cavalcade-Show-Tunes/dp/B0002K0ZTE/ref=sr_1_1?s=music&ie=UTF8&qid=1330827777&sr=1-1

Cheers
Derek

[George Laszlo]

Since the question of pricing has now come up, I want to make you
aware of a price comparison web site called www.amusicarea.com. It
will list several places that are selling whatever you are looking
for. As an example, the "For the First Time" album has 8 entries
ranging from $7.74 to $19.54. This is in US dollars. The site lets you
enter your shipping address and then does the search accordingly. It's
worth checking out. - George

[Derek McGovern]

Hi George:

Thanks for telling us about that site. A word of caution, though: when I did an experimental search on the SACD version of Mario! Lanza At His Best just now, it came up with two normally priced choices at Amazon (both of them for under $12):

http://www.amusicarea.com/Search/compareMusic.cgi?id=1792229&state=AK&location=30000&thetime=20120306073338&session=prpclcelrurr&album=Mario!+Lanza+at+His+Best+[Hybrid+SACD]&dispCurr=USD

Click on the amazon link provided, though, and one immediately finds that the cheapest available copy is $72!

Cheers
Derek