Love Me Tonight

[Derek McGovern]

While out walking last night---appropriately enough, along a romantically lit river---I listened to Mario's recording of "Love Me Tonight" from The Vagabond King on my ipod. As so often happens when I haven't played a cherished piece of singing in a long time, I fell in love with this rendition all over again. In fact, it took me back to the first time I heard the recording. I was in my late teens, and, happily, it was on a particularly well-reproduced Reader's Digest 6-LP collection I'd bought at a secondhand store. (I say "happily" because, as I later discovered, the sound quality was much poorer on the original RCA Vagabond King album.) 

On this occasion, I'd rushed over to the house of a friend of mine---a vibrant older woman who had recently discovered Lanza and who was as mad about him as I was---and we were both heard "Love Me Tonight" for the first time together. We were spellbound, especially since we'd both previously come to the erroneous conclusion that the qualities that had made Mario such a great romantic singer were largely absent from his final records. In fact, this recording revealed a sensuous, earthy quality that we hadn't heard before from him. (I should add that neither of us had discovered the "Mario!" album at this point.) And those effortlessly produced, soaring high As! The first one took us completely by surprise. "He still had it!" my friend exclaimed. And indeed he did.   

In theory, this recording shouldn't really work. For a start, it's meant to be a duet between the characters of Katherine and the rascally Villon (a baritone, incidentally, in Friml's score). In fact, I wonder if it was originally intended as a duet on Mario's version, given that Judith Raskin sings with him on several other songs on the Vagabond King album. When she recorded her contributions a year after his death, Raskin could easily have been brought in to sing the first half of the song, as she does on "Some Day"---or sung along with him at some point. After all, it doesn't really make sense for Lanza to repeat the same verse on his own (reminding us of his similar "transgressions" on his Coke recording of "Santa Lucia" and his live performances of "Marechiare"). Then there's the dated operetta it comes from---a work that produced some beautiful songs, but sounds terribly old-fashioned in its original form, as this 1943 recording of "Love Me Tonight" reveals. (It's a lovely duet, but the word "sensuous" never comes to mind. In fact, it's hard to believe it was recorded just sixteen years before Lanza's version.)  

Then there's the uncertain intonation and odd wobbly/phlegmy moment in Mario's rendition that under normal circumstances would have warranted a retake. But since either RCA or Lanza himself had made the absurd decision to record the entire album in a single evening, retakes (unless absolutely necessary) probably weren't an option. So what we get is a rendition with the kind of blemishes that one might expect in a live performance---and that's how I prefer to regard it :) Of course, it's hampered by poor engineering---even the best reproductions of the recording can't conceal that. Then there's Mario's physical condition at the time, which was far from ideal, not to mention the fact that the album was recorded during one of the hottest Julys in Rome on record (and I doubt there were any airconditioners running in that Cinecittà studio). Romance was probably the last thing on his mind at the time. 

    

But somehow Mario transcends all of the above, as this supposedly ailing man delivers one of his most impassioned and mature readings of a love song. This rendition doesn't conjure up the earnest "boy" of "A Kiss," "Love Is the Sweetest Thing," and other equally winning earlier renditions of English-language love songs; instead it contains a barely disguised erotic element in its frank intensity. We're a very long way indeed from the highly theatrical singing of Dennis King, who created the role of Villon in 1925, or the lyrical pining of tenor Webster Booth in the 1943 revival, as heard in the link provided above.     

What I particularly love about Lanza's rendition is how he alternates between long phrases, as on the thrilling "The hours that we know measure our dream of delight" (all done in one impressive breath the first time round), and short punctuated phrases ("Love me/love me/tonight") that emphasize the urgency of his entreaty. Then there's his heightened intensity on the reprise, which contrasts with his more lyrical, longer-phrased singing in the first half (making us happily overlook that he's repeating the words), and leaves the listener under no illusion as to the singer's passionate intent on "Now while I long for you." Has any operatic tenor ever sounded so frankly sexual? I doubt it! 

Anyway, here's a link to a fine reproduction of the recording, together with the lyrics. I would love to read others' thoughts on "Love Me Tonight"---not forgetting, of course, that Muriella has also written some beautiful words about the recording here.

Cheers,

Derek

[Joseph Fagan]

I, for one, am happy he did not do a re-make of this....IT is just beautiful and "touching"....as is. He makes your heart 'sing along and feel with him". It may not be flawless but nevertheless, it is just gorgeous. Another notable characteristic is how effortless he seemed to be....like he was eating an apple. You and Muriel nail this one with your beautiful descriptions.

[norma]

Dear Derek,I adore 'Love me Tonight. At the British Mario Lanza yearly reunion,I won the chance to choose 10 favourite Lanza recordings to be played.I chose Love me tonight as one of the English songs.To me it is extremely sensual and shows that he could still sing those high notes.Thank you for the better recording.
Norma

[Vincent Di Placido]

Oh! Yes, "Love Me Tonight" is a gorgeous piece of romantic, sensuous singing. It shows Mario still had the goods, its just his poor health that let him down...

I Love Alessandro Nadin's arrangement, it has a great hypnotic mood to it & supports Mario's beautifully. In fact Mario was served well for the most part with arrangers in his last couple of years, Nadin, Ennio Morricone & Carlo Savina, they did some great work, I just with the Italian engineers were as good at there work as the Italian arrangers.

[Derek McGovern]

Nice to see others sharing my love for this recording!

Vince: I'd meant to acknowledge Alessandro Nadin's beautiful arrangement in my opening post. This guy knew how to create a romantic mood! As soon as I hear those opening strings, I picture a mysterious, unsettled moonlit scene. The orchestral build-up to the high A on "hours" is also very exciting. Yes, Lanza was very well served by his Italian arrangers; it's just a shame (as you say) about the shoddy recording quality on all but one of his late albums. 

Incidentally, Nadin also arranged "Pour un Baiser"---another gem!

Cheers

Derek

[Lou]

Hi Derek: Count me in as yet another lover of Lanza's "Love Me Tonight." On another thread, Lee Ann and Vince wrote that it feels almost intrusive to listen to Lanza's 1951 MGM recording of "All the Things You Are" because of the intimacy of his singing. Lanza's reading of "Love Me Tonight" has a similar effect on me. In my case the sense of intrusion is engendered by the emotional charge and raw passion of Lanza's delivery. You ask, has any operatic tenor ever sounded so frankly sexual? If you don't limit the answer to English songs, I'd say Lanza himself in my favorite version of "Vogliatemi bene." To my ears, there's no mistaking the singer's "passionate intent" on his repeated entreaty, "Vieni, vieni," with each repetition more seductive and urgent than the last. 

Cheers,

Lou

[Derek McGovern]

Hi Lou: "Raw passion" sums up Mario's rendition perfectly! It's a recording that certainly deserves to be better known---and better appreciated---and if I were compiling a representative love song album of Lanza, I'd be very tempted to include it.    

Out of curiosity, are you talking about the RCA recording of the Butterfly duet or either the film or Hollywood Bowl versions? If it's the RCA version you mean, I'd agree about "passionate intent"! The only problem is that Mario's passion overrides just about everything else here :)  I think Rosati would have had a fit if he ever heard this version!  

Cheers,

Derek

[Lou]

Hi Derk: I'm talking about the Hollywood Bowl version with Frances Yeend. To my ears, Lanza's singing in the RCA recording (with Elaine Malbin?) is beyond passionate: it borders on manic, reminding me of a runaway train. I'm not saying I don't like it. (It's one of my guilty pleasures.) It's just that I don't think it's in the same class as Lanza's polished and disciplined "Love Me Tonight," hence not worthy of comparison with it.

Cheers,
Lou

On Tuesday, October 29, 2013 3:28:25 PM UTC+8, Derek McGovern wrote:

Hi Lou: "Raw passion" sums up Lanza's rendition perfectly! It's a recording that certainly deserves to be better known---and better appreciated---and if I were compiling a representative love song album of Lanza, I'd be very tempted to include it.    

[Lou]

P.S. - That should be "Hi Derek."

[Derek McGovern]

Hi Lou: I'm relieved to hear it wasn't the RCA recording of the Butterfly Duet you were referring to :) Bordering on "manic" sums it up, as Mario in his ardour forgets just about everything that he's ever learned about vocal production! It's a shame it gets played so often at Lanza events involving Elaine Malbin, as there really are many infinitely better operatic alternatives in his legacy.

Cheers,

Der(e)k :)

[Derek McGovern]

I thought I'd reprise this thread for anyone who missed it the first time round---or who would like to comment. There's also an excellent reproduction of "Love Me Tonight" to be heard here:

http://www.mariolanzatenor.com/love-me-tonight.html  

[Barnabas Nemeth]

Just excellent. The reading with soft bendings, only ML has been capable to sing it this way. Just couple of months prior to his untimely death. And in a failing health. I understand why it is one of your favourites renditions... Barnabas

[norma]

Dear Derek,This is one of my all time favourites and recorded just 3months before he died! I think it is not very well known with some Mario followers.
Norma

[Michael McAdam]

How in the world, with all the English songs I vetted for the Quints Vol II, did I miss this gem? What an effortless and impassioned piece of singing. Betty, present in the recording studio (?), must have felt some biological twinges :-)) upon hearing her husband sing like this.

Hard to believe he was in his last months and in poor health.

By the way, Derek: a first-rate recording you put up here for us to give a listen to.

Mike

[Savage]

Beautiful example of Mario's darker voice at its dramatic best.  Can't help but love this recording.

[Barnabas Nemeth]

This a real Lanza gem. No one else could sing it this way. And at a failing health three months before his untimely death. Breathtaking and goosebumping!  I can listen to it several times subsequently. Barnabas

[Derek McGovern]

I noticed in our visitor stats today that our "Love Me Tonight" page has been receiving a lot of attention over the last 24 hours. It's not difficult to understand why! Like Barnabas in his post above, I found myself playing the recording several times when I revisited the page myself just now. There's no doubt about it: this is the most compelling of all Lanza's final (post-Caruso Favorites) recordings---an irresistible combination of power, passion and utter conviction, complimented by a memorable arrangement. 

[Barnabas Nemeth]

Well, this rendition is incredibly perfect and special. The melody of this song is nice, the lyrics is touching, the voice is baritonal with stable glorious high notes. But the most essential thing for me is the reading, the maturity of feeling that can be sensed in the last year in Mario's artworks, especially in the Mario record and the Caruso Favourites. I can listen to this song several times randomly. Barnabas

[Derek McGovern]

I've just been listening to both the 1958 "I Love Thee" and the 1959 "Love Me Tonight" on our home site, and it struck me what a great representative pair of "mature Lanza" recordings these two renditions are. If Sony ever does get around to putting out CDs of Lanza's legacy in logical "genre" compilations, then these two surely belong on the same disc (ideally on a compilation of his 1955-59 recordings, as I suggest here). And I'd call the CD Love Me Tonight :)      

[Thelma F. Prince]

Derek, I see you realize the beauty of "I Love Thee" the song.  It is an old song, but so beautiful!

On Thu, Jul 24, 2014 at 9:34 AM, Derek McGovern <derek.m...@gmail.com> wrote:

I've just been listening to both the 1958 "I Love Thee" and the 1959 "Love Me Tonight" on our home site, and it struck what a great representative pair of "mature Lanza" recordings these two renditions are. If Sony ever does get around to putting out CDs of Lanza work in logical "genre" compilations, then these two surely belong on the same disc (ideally of his 1955-59 recordings, as I suggest here). And I'd call the CD Love Me Tonight :)      

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[Michele]

Hi Derek,
Have just listened to "Love me Tonight" and I have to confess it brought me to tears.  Mario's phrasing and sound of his voice just really got to me.  I was
reading the words as he sang the repeat and his phrasing was just incredible.  But this is what he did with these sort of songs like nobody else could do.  Even the more mundane songs he recorded, he always managed to do something magic.
Michele 

On Thursday, July 24, 2014 9:34:49 PM UTC+8, Derek McGovern wrote:

I've just been listening to both the 1958 "I Love Thee" and the 1959 "Love Me Tonight" on our home site, and it struck me what a great representative pair of "mature Lanza" recordings these two renditions are. If Sony ever does get around to putting out CDs of Lanza's legacy in logical "genre" compilations, then these two surely belong on the same disc (ideally on a compilation of his 1955-59 recordings, as I suggest here). And I'd call the CD Love Me Tonight :)      

[Barnabas Nemeth]

Hi Derek,

I checked again the suggestions of various compilations and missed both the Cosi Cosa and the Trees songs as well. Well, it can d be my taste only, but I like both. Cheers, Barnabas

[Derek McGovern]

Hi Barnabas: Sorry: we'll have just have to disagree about those two! "Trees," although endearing, has a few too many blemishes for me, and I don't find the Coke "Cosi Cosa" nearly as good as the live 1948 version:

http://www.youtube.com/watch?v=eFhhwNG3N74  (starts around the 1:00 mark)

That's a pretty amazing note that Mario hit at the end---and a high B, no less!

Cheers,

Derek  

[Derek McGovern]

Hi Michele: In a susceptible moment---e.g. after a couple of glasses of red wine!---I'm quite sure that recording could move me to tears as well :) I know it's often had that effect on my friend Anne--the woman whom I mentioned in my opening post.

Speaking of tears and Lanza, Armando and I both knew a soprano in New Zealand who was incapable of listening to Mario's recordings of "Che gelida manina" and "Pour un Baiser" without crying :)

Nice to see you posting again!

Cheers,

Derek

[Barnabas Nemeth]

Hi Derek,

It's very rare when we disagree but this is the case. I listened to them again several times but the "Thanksgiving Radio Special 1948 of Cosi Cosa" for me is much weaker than that of Coke version. On the other hand, the lyrics of Trees might be controversial, but the voice and rendition is excellent. I may be wrong. Tastes and slapping are different. No problem.

Cheers, Barnabas

[Derek McGovern]

Getting back to the subject of this thread---Lanza's powerfully sensuous rendition of "Love Me Tonight"---I must say I find this almost-otherworldly reprise of "Nocturne" from the same July 1959 session the perfect companion piece to that rendition. Beautiful phrasing, and, like "Love Me Tonight," irrefutable evidence that the man could still weave romantic magic. 

[Joseph Fagan]

Even the most harsh of Lanza critics would be unable to find a fault in this"as close to perfect as humanly possible" rendition. This would be a great introduction work for a "newbie"!

Just wonderful, Derek, goose-bump territory.

[Derek McGovern]

Glad you enjoyed it, Joe! 

Now here's the full version of "Nocturne" in the best reproduction I've heard so far. Although it's even less well recorded than the reprise (which immediately followed it at that marathon Vagabond King session in July 1959), nothing can detract from Lanza's spine-tingling rendition of this beautiful song. Heck, even Derek Mannering has praised this recording! :)

Incidentally, my adorable father, who passed away last year, always used to get emotional when listening to this recording. He even insisted that I add it to his so-called "deathbed tape"---a running joke between the two of us, given the sheer number of recordings he'd singled out for inclusion on that neverending tape (Lanza's "Song of India" and Student Prince Serenade; Anna Moffo's Songs of the Auvergne, all of the 1976 Carreras-Caballe-Wixell Tosca, etc).

I've always maintained that The Vagabond King was Lanza's best 1959 album after Caruso Favorites. Just think of the number of highlights that emerged from that single session: "Love Me Tonight," the "Nocturne" and its reprise, the elegant "Only a Rose" and its thrilling reprise, etc. Even the Drinking Song, when heard in a decent reproduction (and Reader's Digest put out a fine mono version of the song on a 6-LP set in the late 1960s), is enjoyable. 

The Vagabond King is badly---even appallingly---recorded, and Lanza is clearly not in the best of health, and yet it impresses...   

[Derek McGovern]

Since "Nocturne" has suddenly got me all nostalgic, I can't resist adding a photo here of my father, with whom this recording will always be linked :)

That's me next to him, by the way. The photo was taken in Tivoli in December 1989, when my father was just a year younger than I am now. [gulp]  

[Vincent Di Placido]

What a lovely recording "Nocturne" is. So classy. I have to say it again, how is the orchestra recorded so well & Mario so badly?

Great photo, Derek, from what you have told me about your father, it seems to me he was a great man! His great taste in music is definitely not in question anyway... :-)

 

 

 

[Derek McGovern]

Hi Vince: Thanks for the nice words about my father.   

Yes, it's a mystery all right why the orchestra is so well recorded on most of the 1959 albums, while Lanza's voice is often "boxed in" and distorted. As I'm sure I've said before, imagine hearing, say, The Vagabond King album with the sound quality of the Cavalcade album. It'd be a revelation.

What's interesting in the case of "Love Me Tonight" on CD is that according to the liner notes on the (2006) SACD version of Mario! Lanza At His Best, it was the only track from The Vagabond King session not to be recorded in three-track stereo (i.e. recorded via three mikes placed in different positions---left, right, and centre---in the studio). Instead, it was found to be only a two-track recording. And yet the sound quality is still a marked improvement over the (1995) non-SACD version of the album---now, sadly, the only CD of The Vagabond King and Mario! albums in the current catalogue.

For anyone who wants to buy the wonderful SACD version of the album, however, all is not lost :) I see today that the price of rare new copies of the SACD album via Amazon's marketplace sellers has come down from a ridiculous $250 not long ago to a (somewhat) more affordable $49.99:    

        

[Vincent Di Placido]

With those prices I am glad I bought 2 copies back in 2006 :-)