Mario's Stage Presence
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Joe Fagan
Apr 16, 2008, 1:55:26 AM4/16/08
to The Mario Lanza Forum
When Mario sang at the Palladium his nervousness was so palpable you
could cut it with a knife. His performance while singinging was
excellent~~it was *between songs* that he fidgeted so much. Yet, he
had performed hundreds of concerts at this point. Stage fright is
nothing new for performers but I was wondering if it was a particular
problem for Mario? Was this trait ever noted in any of his other
concerts?
could cut it with a knife. His performance while singinging was
excellent~~it was *between songs* that he fidgeted so much. Yet, he
had performed hundreds of concerts at this point. Stage fright is
nothing new for performers but I was wondering if it was a particular
problem for Mario? Was this trait ever noted in any of his other
concerts?
Derek McGovern
Apr 16, 2008, 3:14:24 AM4/16/08
to The Mario Lanza Forum
Hi Joe: This is an interesting topic!
Yes, it's true that Lanza had sung something like 130 concerts (as
well as singing two operatic roles twice) by the time of the televised
Palladium appearance in 1957. However, we have to remember that this
occasion was only the second time he'd sung in front of an audience
since 1954 (or the third, if you include his brief appearance in
Naples!), and before that he hadn't sung in public for three
additional years. It's therefore not surprising that he was nervous.
It's essential for any singer to be performing regularly if he/she
wants to conquer stagefright. Even then, many famous tenors (as
Armando points out in his book) have suffered dreadfully from nerves:
Caruso, for example, and Corelli, in particular.
I think that Lanza always suffered from a degree of stagefright --
even when he was performing regularly in the 1940s -- but it doesn't
seem to have been a particular problem for him in his earlier days.
Any singer who doesn't suffer from stagefright is not usually worth
hearing, in my experience, as the absence of nerves tends to go hand
in hand with a lack of excitement!
I've read reports that Lanza appeared nervous (or at least shy) at
quite a few of his concerts during his final tour in 1958. One
reliable witness who attended Mario's concert in Manchester told me
that there was a lot of "wringing of hands" between numbers, but that
(as with the Palladium concert) the moment he began singing, all of
his nervousness magically evaporated and he was completely in control.
We also have to remember that he was unwell throughout this tour.
Yes, it's true that Lanza had sung something like 130 concerts (as
well as singing two operatic roles twice) by the time of the televised
Palladium appearance in 1957. However, we have to remember that this
occasion was only the second time he'd sung in front of an audience
since 1954 (or the third, if you include his brief appearance in
Naples!), and before that he hadn't sung in public for three
additional years. It's therefore not surprising that he was nervous.
It's essential for any singer to be performing regularly if he/she
wants to conquer stagefright. Even then, many famous tenors (as
Armando points out in his book) have suffered dreadfully from nerves:
Caruso, for example, and Corelli, in particular.
I think that Lanza always suffered from a degree of stagefright --
even when he was performing regularly in the 1940s -- but it doesn't
seem to have been a particular problem for him in his earlier days.
Any singer who doesn't suffer from stagefright is not usually worth
hearing, in my experience, as the absence of nerves tends to go hand
in hand with a lack of excitement!
I've read reports that Lanza appeared nervous (or at least shy) at
quite a few of his concerts during his final tour in 1958. One
reliable witness who attended Mario's concert in Manchester told me
that there was a lot of "wringing of hands" between numbers, but that
(as with the Palladium concert) the moment he began singing, all of
his nervousness magically evaporated and he was completely in control.
We also have to remember that he was unwell throughout this tour.
Den
Apr 16, 2008, 9:05:57 AM4/16/08
to The Mario Lanza Forum
Hi Joe
Mario gave the same impression of nervousness
on the 2nd Shower of Stars TV show, perhaps it was having to "wait his
turn"
The fact that he was appearing on national TV where any
mistakes..............
could have played a significent part
Mario would not have had the time to "work" his audience on TV, I'm
sure that the feedback from them would have given him a lot of
support
I have heard the original spool tape recording from the R.A.H. the
pauses
between each song ar not as smooth as the CD there are longer spaces
and some giggles
Listening to the performance there is little or no sign of nerves
I have seen Pav live a few times in concert, also Jose Carreras ( A
Tribute to Mari Lanza )
Neither of them took time out to communicate or "work" with audience,
in particular Pavarotti
just stood and sang
Dennis
Mario gave the same impression of nervousness
on the 2nd Shower of Stars TV show, perhaps it was having to "wait his
turn"
The fact that he was appearing on national TV where any
mistakes..............
could have played a significent part
Mario would not have had the time to "work" his audience on TV, I'm
sure that the feedback from them would have given him a lot of
support
I have heard the original spool tape recording from the R.A.H. the
pauses
between each song ar not as smooth as the CD there are longer spaces
and some giggles
Listening to the performance there is little or no sign of nerves
I have seen Pav live a few times in concert, also Jose Carreras ( A
Tribute to Mari Lanza )
Neither of them took time out to communicate or "work" with audience,
in particular Pavarotti
just stood and sang
Dennis
Joe Fagan
Apr 16, 2008, 11:23:25 AM4/16/08
to mario...@googlegroups.com
Mario WAS superb at working the audience, and his speaking voice was as
magical as his singing instrument. You may be onto something here: when he
could react with the audience, he was fine. Thanks, Den.......Joe
magical as his singing instrument. You may be onto something here: when he
could react with the audience, he was fine. Thanks, Den.......Joe
Derek McGovern
Apr 16, 2008, 4:14:28 PM4/16/08
to The Mario Lanza Forum
There's no doubt that Lanza had a charismatic stage presence. Even off
the stage he radiated "star quality", as reporter Marie Studdard
recalled when she met him in Belfast in 1958: "The thing that
impressed me was the incredible power of the man. I remember that so
clearly after all these years. The breadth of his shoulders. The
strength that came out of him. The obvious lung power. The resonant
speaking voice. The star quality. [...] The moment he walked in,
everybody felt it. There was no doubt about that star quality - it was
VERY strong. The man was simply an exceptional person. We were all
blown away."
But on stage, as Steve B. of the Parlour of Opera Lovers Forum
recalled, "He behaved immaculately and had the audience in the palm of
his hand. No wonder so many distinguished conductors and singers urged
him to take to the opera stage."
More from Steve:
"He presented as extremely nervous when he first appeared. He darted
glances around a hall that had an audience on three sides. As the
applause greeted him he was wringing his hands and smiling nervously.
I was surprised at this as I knew him from films where he exuded
confidence. Some people near me tutted that he was not in evening
dress as this was seen by some as a slight to the audience. He wore a
dark, blue/black suit and carried a cane. He walked slowly and
indicated that he was having trouble with his leg. I cared nothing. I
had gone to hear him sing. He sang.
"The nervousness literally disappeared as he sang. It was, as I
remember the same programme as the London concert. Voices are
difficult to describe. Is Gigli golden? Is Bjoerling steel? Is del
Monaco bronze? Did he sound a bit like….etc etc? Well one thing that
was clear to everyone was that this was no microphone voice. There was
no evidence of amplification and he frequently
turned to those seated at the side so they could hear. The one thing
that is not clear from the recordings even the live Concert in London
is that he projected his voice effortlessly. Projection is not volume.
Schipa had a small voice but could project to the back of the stalls
or even to the back of an open air amphitheatre. In later years I
heard the Maltese tenor Oreste Kirkop in Rigoletto..the same singer
that Hollywood tried to use as a Lanza replacement. .but he was
lacking projection and although a stylish singer with a good technique
and an inherently beautiful voice he was often inaudible. Lanza's
voice was not `big' in the way that Jon Vickers or Melchior or Del
Monaco were big. It was clear but not 'wide', superbly projected and
had what I can only describe as a richness of timbre that made it
instantly recognisable. Anyone who listens to the performance of
Monteverdi's `Lasciatemi morire' will notice two things. Firstly that
he shouldn't be singing it at all ;-) but secondly that the actual
sound has a unique richness about it. The song lies in what Kathleen
Ferrier called `the fat of the voice' and the `fat' of Lanza's voice
was remarkably rich. [...] It was a wonderful, joyous evening with the
audience shouting for more but Lanza returned to the nervous
disposition he showed at the beginning. He had no cause, for the
concert was over and was a huge success. I assume he just was uneasy
in front of large numbers of people [...] As a voice, it was the most
beautiful tenor voice I ever heard."
I realize that I've moved the topic away from being purely about stage
presence, but while we're on the subject of Lanza in concert, I can't
resist reprising Vince's delightful post from a few months back:
"It made me sit down with my dear old Dad & talk about the evening he
shared with Mario in 1958 at the Usher hall in Edinburgh. He was 22
years old in March 1958 & has told me about that experience many times
but I wanted to hear it again.
"Papa says Mario looked very well & relaxed & received a great welcome
as he walked out between the seating at the back of the stage that
seats some of the audience (just like The Albert Hall does). Mario's
voice filled the Usher Hall & was FREE, FULL, RINGING & there was no
strain whatsoever, Dad had been singing himself for quite a few years
& had studied with good teachers, he told me Mario's voice was BIG &
was the same beautiful instrument he knew from countless recordings;
in fact, Dad says Mario was more impressive than he had been on some
recordings.
"Mario leaned against the piano quite a bit. Dad didn't understand why
until he read the newspapers the next day when they explained Mario
was trying to take the strain of his leg, Dad says he walked perfectly
though. As Mario went for one of his breaks, walking past the audience
seated at the back of the stage a man said something to him, & Mario
stopped & put his arms warmly around his shoulders & crouched to
listen to him & shared a laugh before walking off. Mario had a glass
of water on the piano that Costa had moved & when Mario later went to
go for a drink & it wasn't there he jokingingly gestured to punch
Costa.Dad says the whole evening was fantastic, & he was just amazed
Mario was there in front of him, Dad was 5 rows from the stage!! Mario
excused his casual dress on lost luggage; we all know now this was
standard practice.
"The most important thing I wanted to clear up was whether his
approach & interpretation were different from the Albert Hall
recording. Dad says his singing at Usher Hall was beautiful,
expressive & had a great ring to it, & when the album of the Albert
Hall concert was released, he remembers thinking that the singing was
better in Edinburgh."
the stage he radiated "star quality", as reporter Marie Studdard
recalled when she met him in Belfast in 1958: "The thing that
impressed me was the incredible power of the man. I remember that so
clearly after all these years. The breadth of his shoulders. The
strength that came out of him. The obvious lung power. The resonant
speaking voice. The star quality. [...] The moment he walked in,
everybody felt it. There was no doubt about that star quality - it was
VERY strong. The man was simply an exceptional person. We were all
blown away."
But on stage, as Steve B. of the Parlour of Opera Lovers Forum
recalled, "He behaved immaculately and had the audience in the palm of
his hand. No wonder so many distinguished conductors and singers urged
him to take to the opera stage."
More from Steve:
"He presented as extremely nervous when he first appeared. He darted
glances around a hall that had an audience on three sides. As the
applause greeted him he was wringing his hands and smiling nervously.
I was surprised at this as I knew him from films where he exuded
confidence. Some people near me tutted that he was not in evening
dress as this was seen by some as a slight to the audience. He wore a
dark, blue/black suit and carried a cane. He walked slowly and
indicated that he was having trouble with his leg. I cared nothing. I
had gone to hear him sing. He sang.
"The nervousness literally disappeared as he sang. It was, as I
remember the same programme as the London concert. Voices are
difficult to describe. Is Gigli golden? Is Bjoerling steel? Is del
Monaco bronze? Did he sound a bit like….etc etc? Well one thing that
was clear to everyone was that this was no microphone voice. There was
no evidence of amplification and he frequently
turned to those seated at the side so they could hear. The one thing
that is not clear from the recordings even the live Concert in London
is that he projected his voice effortlessly. Projection is not volume.
Schipa had a small voice but could project to the back of the stalls
or even to the back of an open air amphitheatre. In later years I
heard the Maltese tenor Oreste Kirkop in Rigoletto..the same singer
that Hollywood tried to use as a Lanza replacement. .but he was
lacking projection and although a stylish singer with a good technique
and an inherently beautiful voice he was often inaudible. Lanza's
voice was not `big' in the way that Jon Vickers or Melchior or Del
Monaco were big. It was clear but not 'wide', superbly projected and
had what I can only describe as a richness of timbre that made it
instantly recognisable. Anyone who listens to the performance of
Monteverdi's `Lasciatemi morire' will notice two things. Firstly that
he shouldn't be singing it at all ;-) but secondly that the actual
sound has a unique richness about it. The song lies in what Kathleen
Ferrier called `the fat of the voice' and the `fat' of Lanza's voice
was remarkably rich. [...] It was a wonderful, joyous evening with the
audience shouting for more but Lanza returned to the nervous
disposition he showed at the beginning. He had no cause, for the
concert was over and was a huge success. I assume he just was uneasy
in front of large numbers of people [...] As a voice, it was the most
beautiful tenor voice I ever heard."
I realize that I've moved the topic away from being purely about stage
presence, but while we're on the subject of Lanza in concert, I can't
resist reprising Vince's delightful post from a few months back:
"It made me sit down with my dear old Dad & talk about the evening he
shared with Mario in 1958 at the Usher hall in Edinburgh. He was 22
years old in March 1958 & has told me about that experience many times
but I wanted to hear it again.
"Papa says Mario looked very well & relaxed & received a great welcome
as he walked out between the seating at the back of the stage that
seats some of the audience (just like The Albert Hall does). Mario's
voice filled the Usher Hall & was FREE, FULL, RINGING & there was no
strain whatsoever, Dad had been singing himself for quite a few years
& had studied with good teachers, he told me Mario's voice was BIG &
was the same beautiful instrument he knew from countless recordings;
in fact, Dad says Mario was more impressive than he had been on some
recordings.
"Mario leaned against the piano quite a bit. Dad didn't understand why
until he read the newspapers the next day when they explained Mario
was trying to take the strain of his leg, Dad says he walked perfectly
though. As Mario went for one of his breaks, walking past the audience
seated at the back of the stage a man said something to him, & Mario
stopped & put his arms warmly around his shoulders & crouched to
listen to him & shared a laugh before walking off. Mario had a glass
of water on the piano that Costa had moved & when Mario later went to
go for a drink & it wasn't there he jokingingly gestured to punch
Costa.Dad says the whole evening was fantastic, & he was just amazed
Mario was there in front of him, Dad was 5 rows from the stage!! Mario
excused his casual dress on lost luggage; we all know now this was
standard practice.
"The most important thing I wanted to clear up was whether his
approach & interpretation were different from the Albert Hall
recording. Dad says his singing at Usher Hall was beautiful,
expressive & had a great ring to it, & when the album of the Albert
Hall concert was released, he remembers thinking that the singing was
better in Edinburgh."
Joe Fagan
Apr 16, 2008, 5:52:30 PM4/16/08
to mario...@googlegroups.com
Thanks for these two articles Derek, just wonderful! I am happy I raised the
question as these two responses not only shed light on the subject~~they
tell us so much more about our hero! Thanks again....Joe
----- Original Message -----
From: "Derek McGovern" <derek.m...@gmail.com>
To: "The Mario Lanza Forum" <mario...@googlegroups.com>
question as these two responses not only shed light on the subject~~they
tell us so much more about our hero! Thanks again....Joe
----- Original Message -----
From: "Derek McGovern" <derek.m...@gmail.com>
To: "The Mario Lanza Forum" <mario...@googlegroups.com>
Derek McGovern
Oct 31, 2013, 11:37:56 PM10/31/13
to mario...@googlegroups.com
I thought I'd revive this thread, as I just love reading the two accounts from people who attended Lanza's concerts in 1958 (Steve Bell and Vince's father, Vincenzo, Snr).
Well worth a revisit!
efran...@gmail.com
Nov 1, 2013, 3:08:17 PM11/1/13
to mario...@googlegroups.com
Dear Derek:Thank you for reviving this interesting thread. Mario's presence, which clearly was filled with charisma and star qualities, cannot be separated from the man and who he was. Lanza was warm, generous,kind and loved people. These were his essential qualities which leaped off the stage,the screen and in real life. His millions of fans sensed that Mario was genuine and his voice and presence affirmed this again and again. Emilio
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