"Guilty pleasures"

[Derek McGovern]

The title of this thread is tongue in cheek, and was prompted by Lee Ann's recent post, which reminded me of a message posted by Vince on the Yahoo Lanza group that I used to run. I thought it'd be fun to recycle Vince's post and the topic. (Of course, "guilty pleasures" in this context refers to songs and/or performances that you know are not quite up to snuff, but that you have a soft spot for nonetheless!)

In his post Vince is responding to Bob Davies's (habitual) praise of Mario's recording of With a Song in My Heart:

"With a song in my heart" has such a great spoken intro that every time I hear it I really want the song that follows it to be to be better than it is. Mario is just too tight vocally & I always felt that it was maybe a semitone or a tone too high for Mario to sound relaxed (even on a good day), & this improves things worse (as Harry Cohn would say!)

"It's such a shame because it is a beautiful Rodgers & Hart song (& not a bad arrangement) & if it weren't for the vocal tightness & sloppy diction then we might have really had something!

"But Bob, if you get something from it then knock yourself out!

"My guilty Coke pleasures include so many corny songs that Mario just sells to me & I'm buying! Derek,"Wanting you" I love, yes definitely! & "My Buddy" (it doesn't get any cornier than this but it is a measure of how well Mario can put over a corny old song. Oh! I said it doesn't get any cornier than "My Buddy", well, I was wrong, my next guilty Coke pleasure is "Somebody bigger than you & I". He has such gorgeous outpouring of tone on this song.

"Wonder why", "If","Marcheta","Romance","When you're in love" .. Oh! the Coke guilt goes on & on...Even the really bad songs I'll find a phrase or a little Mario trick that I like, I am that big a fan!"

Other guilty pleasures, anyone?

[Tonytenor]

Hey, I love this thread! Funny too that "With A Song In My Heart" is
one of my favs as well. It might belong in the guilty pleasures bin
with the several others that I've amassed over the years. Funny about
"With A Song In My Heart" though. I always had the impression that,
yes it was cranked up there key wise, as are many of the Coke show
recordings, which was obviously done to show off Mario's voice, but I
always thought he sounded like he was having fun with it and at the
end he soars to the top note - without a breath mind you - "...with a
song in my heart for---YOU!"

The first Lanza LP I purchased was THE BEST OF MARIO LANZA, Volume 2,
and if I remember correctly, "With A Song In My Heart" is the first
song on side one. When I heard him take that last note (which, if
memory serves me correctly, is a B natural) it just blew my mind.
It's visceral, passionate, full out Lanza at his best and I admit it.
I love it!

Cheers,

Tony

> *************************************************************************
>
> Other guilty pleasures, anyone?

[Derek McGovern]

Hi Tony: Fascinating....With a Song in My Heart seems to be one of those Lanza recordings that evenly divides fans. I know that young Mike McAdam, for example, is one of its most passionate devotees. But I'm with Vince on this one -- where you (and so many other people) hear Mario soaring on this recording, I hear uncharacteristic strain! Especially on his last note, which sounds almost squeezed out to my ears. I wish it wasn't so, as I'm convinced that a classic rendition was easily within his grasp. I love the song and I like the arrangement (but not the key)...ah, if only!

Cheers
Derek

[Mike McAdam]

It's funny isn't it? Just yesterday I was thinking of that Rodgers and
'Art ;-) song that Mario sings with the Lancashire (or Newfoundland?)
habit of dropping his 'h's. Great arrangement, Sinatra doesn't blast
you out of the chair this time and, ya gotta love that piano in the
'middle eight'. The observation that it was up-pitched for him on the
Coke show is probably right on the money. A lot of these radio songs
were sung in a key no ordinary mortal would dare tackle. The last line
of the song "...with a song in my 'art for....YOU" Yes, Tony...without
a breath and hitting that high 'B' on the last note. A typical Mario
'grabber', eh? Great stuff! But Derek, you're right. Technically and
artistically it would make Messrs Rosati and Spadoni both cringe,
wouldn't it?
I listen to my* version of 'Roses of Picardy' more than any other Coke
song (* a while ago I uploaded a version to 4Shared where I smoothed
out that up-and-down-scale last note, "..he-a-a-ar-art"). This song is
so poignant and melancholy and Mario nails it just right for me. The
natural semi-sob in Mario's voice as he sings "...that will never DIE"
in 'Somebody Bigger than You and I' does it for me also. 'Wanting
You'? Great song but I think I'll smooth out that last yelping note or
two also, ".....all I A-d-ORE" Ye-e-c-c-ch!
There are a few other "guilty pleasures" I'll likely think of over the
next day or two. BTW, where's our guy Vince these days?

Cheers, Mike

On Aug 25, 9:00 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Hi Tony: Fascinating....With a Song in My Heart seems to be one of
> those Lanza recordings that evenly divides fans. I know that young
> Mike McAdam, for example, is one of its most passionate devotees. But
> I'm with Vince on this one -- where you (and so many other people)
> hear Mario soaring on this recording, I hear uncharacteristic strain!

> *Especially* on his last note, which sounds almost squeezed out to my

> ears. I wish it wasn't so, as I'm convinced that a classic rendition
> was easily within his grasp. I love the song and I like the
> arrangement (but not the key)...ah, if only!
>
> Cheers
> Derek
>

> > > Other guilty pleasures, anyone?- Hide quoted text -
>
> - Show quoted text -

[Lover of Grand Voices]

Dear Derek
My warmest compliments on your taste and your intellect when it comes
to music and especially Mario Lanza.

I wonder, though, why we insist on perfection from him?  Are not the
most interesting things in life, including music and singing,
imperfect?

You raise a wonderful point that I believe Armando noted in the first
edition of his book on Mario. Other have also alluded to this who are
avid fans or tepid fans of his.  Lanza had the ability to transform a
bad song into a good one, a good one into a great one, a great song
into a magnificent piece of work.

I have searched to see how many other artists have ventured into
singing My Buddy and other songs that Mario courageously tackled.  He
was able to put a soul into each melody.  He took the words and the
music and added only what a great artist can include.  He transformed
into these "corny" works with love, passion, feeling, expression,
diction, and a connection to those who would listen to these forgotten
recordings again and again. We need to articulate this issue more.

Thank you for bringing this worthwhile subject up.  This Forum is
marvelous and it is a credit to you and Armando who manage it.  You
have allowed expression about a topic that needs ever more depth of
thinking until it reaches into the heart of a new generation that will
enjoy and appreciate Mario Lanza as we do.

Perhaps only a Broadway show or the long-awaited movie about Mario
will spark an interest in those many millions around the globe who
have never heard his voice of felt that passion of his emotion.  For
this generation, like all others, "The Medium is the Message."  Thank
you again for this Forum.

[Derek McGovern]

In his recent post on inspiring Lanza recordings, Vince included "Wanting You" on his list of renditions that have been a source of great comfort. His post inspired me to dig out this "guilty pleasure": 

http://www.youtube.com/watch?v=F-2WQFa7dBg [Mistitled as "Waiting You" here :)]

What a wild ride Lanza takes us on with this song! That octave leap at the end is just insane---but tremendously exciting, especially when played at full volume. And it's so unexpected too: a blazing high C coming at the end of a line that has begun so unpromisingly with a croak on "All" (as in "All that I adore!").

Sure, the introduction is hit and miss ("the same story" being especially wayward), and there's the odd moment of roughness with Lanza also pushing a little in places, but his winning combination of sincerity and passion sells the song as far as I'm concerned. I completely believe him when he sings "Every night I am longing to"---with that poetic and uniquely Lanzarian emphasis on "night"---and "But I cling to the nearest chance that you may hear me." 

He also makes the song sound so fresh and vibrant. This is 1928 operetta, after all. While baritone Nelson Eddy sings his part beautifully (I'm much less enamoured of Jeanette MacDonald) in the 1940 film version of New Moon, the song sounds dated and staid by comparison:    

http://www.youtube.com/watch?v=dYrFvkp92Iw

Of course, the song was originally a duet, so Lanza sings both Marianne's and Robert's (a tenor part in the operetta) lines here. But four years earlier, in June 1947, he had performed the song as written, singing it as a duet with soprano Carolyn Long at a summer "Pops" concert at the New Orleans Municipal Auditorium.  

So this is one of my supreme guilty pleasures (a rendition that is far from perfect, but memorable nonetheless); what are yours? :)

WANTING YOU (Music by Romberg; lyrics by Hammerstein) 

My heart is aching for someone
And you are that someone
You know the truth of my story
You must believe what you see.

I, too, may someday love someone
From somewhere there'll come one
One who will hear the same story
That you're telling me.
________________________________

Wanting you, 
Every day I am wanting you
Every night I am longing to
Hold you close to my eager breast.

Wanting love 
In that heaven I'm dreaming of
Makes that Heaven seem far above
Any hope that I'll gain my quest.

Dreams are vain
But I cling to the nearest 
Chance that you may hear me
Dreams are vain
For whenever I wake
I never find you near me

Wanting you 
Nothing else in this world will do
In this world you are all that I adore
All that I adore!

[Barnabas Nemeth]

Frankly, "Wanting you" is not really my favourite song. Neither song, nor the the rendition. Yes, it's matter of taste. At the same time, in my opinion the "Trees" is neglected somehow though it's sung very well and the melody is pretty nice. The lyrics? Well, it's a famous poem. ...Cheers, Barnabas

[Derek McGovern]

Hi Barnabas: You're certainly right about these things being a matter of taste! I love Romberg's melody in "Wanting You."

As for "Trees," I find it unevenly sung, to be honest---with Mario pushing too much and his sense of line faltering in places---but I can't deny the warmth and conviction that he brings to it:

http://www.youtube.com/watch?v=XTtfX7pVBiM     

An even guiltier pleasure, perhaps? :)

[Barnabas Nemeth]

OK., the melody of "Wanting You" is pretty nice but Mario's rendition here in uneven, along with open throat here and there. Yes, indeed, it's matter of taste: I like "Trees". Cheers, Barnabas

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[Armando]

Lanza’s singing of “Wanting You” may not be a lesson in Bel Canto, (nor is it intended to be) but it’s a pretty sexy piece of singing in that unique Lanza sound, and that spectacular high C ending is to die for!  

[leeann]

"Wanting You."  Hmm, I would've totally surrendered to that song sometimes, turned to total mush, actually--especially, as Derek suggested, at full volume. Right now, it's easy to be more clinical, and under those circumstances, it brings a smile. Musically shaky: yes. "Getting" the romance of the lyrics and making sure we do too: absolutely.

Maybe it's one of those Coke selections that shows the Lanza genius for winging it so incredibly magnificently with little rehearsal. (or maybe, it's the magical effect on the mundane)

In the original post for this thread, you quoted another post from Vince:  "My guilty Coke pleasures include so many corny songs that Mario just sells to me & I'm buying! ...Even the really bad songs I'll find a phrase or a little Mario trick that I like, I am that big a fan!"

I'll go along with "Wonder Why" that Vince includes on that list. I'm not sure if it's a guilty pleasure, but it always surprises me that I like it. It has the potential to be such an awkward piece--and maybe it is. The verses are short, almost choppy; the arrangement works to give it flow; certainly it's dated--but Lanza manages to bring the two together. He pretty much sells it to me.  

[Vincent Di Placido]

I love the longing & sadness Mario conveys in the lines

"Dreams are vain
But I cling to the nearest
Chance that you may hear me
Dreams are vain
For whenever I wake

I never find you near me."

He just gives so much all the time, wringing every bit of emotion from the words & music in whatever he's singing. It always gives me a thrill hearing the way he sings words like "wind"  & "stars" from the Student Prince "Serenade" in the line "I hear your voice in wind that stirs the willows. I see your face in the stars that shine above." He just brings it to life & when he sings those words it makes it seem as though a brief beautiful gust of wind has just blown by & that stars are shining brightly. He interprets words & music with so much heart, soul & feeling it just takes your breath away.

I think that part of the problem with some people not appreciating Mario is that they actually can't handle that much personality, emotion, depth of feeling & passion, it is just too much for them. They are exposed to so much blandness that the electrifying Lanza seems too much. To those of us that "get it" it's just one of life's truly beautiful experiences, hearing Mario makes me feel more alive.

That Oreste Kirkop observation that Mario "died a little every time he sang" makes perfect sense to me, he is giving us every ounce of his being, his heart & soul.

"Wonder Why" is an exciting performance & when you compare Mario's recording not on a vocal level but interpretationally with Vic Damone's https://www.youtube.com/watch?v=ZoDB9wAIs3Y it demonstrates how much more emotion & excitement Mario creates & also that sense of bewilderment, which the singer should be expressing, Mario delivers all this in spades. Mario couldn't not give his all & I love that!

"It could be that she's caught up with me. And all the mystery I'm speaking of is simply that I went & fell in love." that stress on "mystery" is perfect & that outpuring of rapture on "fell in love" is just pure joy!

I find as I am getting older & I listen to Mario I'm appreciating his talent more, not only how magnificent the voice & phrasing are but how much heart & life he gave in each performance. His commitment is unmatched by any other singer I think.

 

 

[Armando]

Beautifully expressed, Vince, couldn’t agree more!

Saluti,

Armando

[leeann]

Thank you, Vince. You've so beautifully explained the "wonder" of "Wonder Why."

[Derek McGovern]

Hi Vince: I second Armando's praise! 

"Wonder Why" has never struck me as a great song---like Lee Ann, I find it awkwardly written (musically and lyrically)---but Lanza's handling of it is indeed rapturous. What he does with the ending is miraculous, really; any other singer would have fallen flat on his face. It's ridiculously challenging from a vocal perspective, but because he pulls it off with such aplomb, (as so often happens with Mario) the casual listener fails to realize how difficult this music actually is. Any tenor foolish enough to underestimate Lanza should just try keeping up with him during the last minute or so here!

By the way, it's a shame the current YouTube reproduction of this recording is so poor; it's running about a whole tone too fast (!), and robs his voice of all its warmth (making him sound nasal in the process). I mention this in case anyone who's unfamiliar with the recording is tempted to seek it out on YouTube after reading this discussion!

Yes, you're absolutely right about Lanza's passion and personality scaring off people who prefer blandness in their singers. I've met many people who find him "too ripe," "too vulgar," too disturbing in his unmistakable love of singing (and of life). This Opera-L post, written by a Lanza-hater, perfectly captures that attitude:  

[Lanza] had a serviceable but lousy voice, which was hyped and served with a combo of lacrimosity, schmaltz and olive oil, one of those cross cultural matings which is not a good idea. I found it distressingly muscular and "forced" even when I was a tiny kid. I thought he clearly had imprinted on Caruso, and what a pity. When I want to WALLOW, i love THE STUDENT PRINCE. it is like the most high calorie junk food you can cram into your ears, but afterwards, i need to hear bagpipes, mournful solo dirges, to return to aural normal.  Or maybe the Beach Boys doing VEGETABLES.
Too much of that Lanza stuff clogs the arteries.
My husband, whom I just consulted, said, there is no art, no soul, it is like a commercial product made to sell beans.
hermine stover

There are too many Stovers in this world!

Cheers,

Derek

[Derek McGovern]

A P.S. to the above: Lee Ann's and my posts crossed, so I'll just add here that I second her praise of Vince's post as well :)

I also can't resist re-posting British broadcaster/novelist Alan Titchmarsh's magnificent comments on Lanza (as broadcast on Andrew Bain's 2009 BBC2 documentary), since they're the perfect antidote to "Stoverian" sneering:  

"There's a great purity---a sort of innocence about Lanza's tenor---because it was just a kind of unencumbered voice. It wasn't hampered by too much technique. It seemed to me he sang from the heart. When you hear him singing, you can't believe that this man does not actually love singing, and to me that's so important. Singing is, if nothing else, hugely emotional, and there's an enormous emotion behind Lanza's singing." 

[Vincent Di Placido]

Have I just made up a word? "interpretationally" I think I meant "interpretively"... :-)

[Vincent Di Placido]

Oh! Those comments from "Hermine Stover" have upset me! Talk about "not getting it". The "lacrimosity, schmaltz and olive oil" part is just pure ignorance & rudeness! I've come across this kind of thing many times & of course not everybody's taste is the same but I find it astounding when people don't connect with Mario's great recordings. It baffles me in the extreme!

[Armando]

It seems to me that Hermine Stover’s arteries are already clogged. I suggest a good dose of olive oil to unblock them and to give her a husband a couple of spoons as well!

[Derek McGovern]

Hi Vince: Don't let that prejudiced nonsense from the sneering Ms. Stover get to you! While she may be a darling of the Opera-L crowd, it's safe to say that she has never taken the trouble to listen extensively to Lanza---and even if she did, I doubt he'd get through to her. 

Tenors get Lanza, though! I like what Richard Leech has to say here:

What Mario Lanza was for me was this early impact. He was operatic singing -- the tenor voice I'd heard until I started studying and then listening to some recordings after that. And then, as I started analyzing singing and other singers, I began to appreciate Lanza’s communication, his passion ... the sort of unbridled communication of emotion. When that emotion was missing in another singer I would notice: "Uh, that's beautiful -- but why isn't it reaching out and grabbing me?"t and grabbing me?"

[From http://parterre.com/leech_interview.htm]

Cheers,

Derek