Jerry Hadley
830 views
Skip to first unread message
Tonytenor
Sep 2, 2008, 11:25:49 AM9/2/08
to The Mario Lanza Forum
Hello folks! Since Jerry Hadley's name came up just recently in a
discussion, I am interested in everyone's input re: his career, his
voice and, most specifically, his untimely death. I know that there
was some talk of marital issues and other personal challenges Jerry
was facing, but I am most intrigued by the fact that his manager was
quoted as saying the Jerry was looking into comic roles. This seems
odd to me; for a tenor in his mid-fifties who, if in good vocal
health, would normally be adding slightly heavier parts to his
repertoire. I recall reading a rather in-depth article about hi and
the terrible time he had with TMJ. He essentially had to re-learn how
to speak and sing again because of this unfortunate condition. In all
events, I always liked Jerry and am particularly fond on his GOLDEN
DAYS disc and the Duet album he did with Thomas Hampson. Any
thoughts? Thanks - Tony
discussion, I am interested in everyone's input re: his career, his
voice and, most specifically, his untimely death. I know that there
was some talk of marital issues and other personal challenges Jerry
was facing, but I am most intrigued by the fact that his manager was
quoted as saying the Jerry was looking into comic roles. This seems
odd to me; for a tenor in his mid-fifties who, if in good vocal
health, would normally be adding slightly heavier parts to his
repertoire. I recall reading a rather in-depth article about hi and
the terrible time he had with TMJ. He essentially had to re-learn how
to speak and sing again because of this unfortunate condition. In all
events, I always liked Jerry and am particularly fond on his GOLDEN
DAYS disc and the Duet album he did with Thomas Hampson. Any
thoughts? Thanks - Tony
Derek McGovern
Sep 2, 2008, 8:02:25 PM9/2/08
to The Mario Lanza Forum
Hi Tony: Jerry Hadley's final years were indeed sad ones. His once-
thriving career had floundered because of vocal problems; this in turn
led to financial difficulties for him (compounded by the break-up of
his marriage), and he also battled both depression and problems with
alcohol. In 2006 he was arrested for DUI in New York City after a
passerby had noticed him slumped in his parked car, and although the
charges were eventually dropped, the bad publicity was yet another
blow to his morale at a time when he was trying to rebuild his voice
and career. His last appearances were as Pinkerton in a production of
Madama Butterfly in Brisbane, Australia, in May-June of last year; he
killed himself just five weeks later. While in Brisbane, he had spoken
movingly of his recent problems, noting that he had stopped performing
for some time because "a wounded bird cannot sing", and he had seemed
optimistic about reviving his career. The reviews in Brisbane were
reasonable, observing that although he had trouble with his upper
register at times, his middle register remained the Hadley sound of
yore. Sadly, though, on his return to the US, he had to contend with
imminent bankruptcy, and possibly this was the tipping point for
him.
I didn't think that he was necessarily looking for comic roles as such
in his last months, but rather supporting roles in operas. According
to friends, he had also been trying to find teaching/mentoring work in
the music department of a university; incredibly (and tragically), no
institution would even consider him. And yet he had still so much to
offer.
By all accounts, he was an exceptionally nice person: fun-loving,
witty, generous, and also a very cerebral man. My friend writer-
photographer Martha Hart found him fascinating to observe -- and to
interview; you can see some of her many photos of him here and other
resources (including recommended recordings) here:
http://www.mlhart.com/WordsMusic/bio_Hadley.htm
To be honest, I don't regard him as one of the great tenors, but
rather as a very *fine* one. I can't think of another American tenor
that's emerged in the last 20 years or so who has given me as much
pleasure, especially in the musical theatre genre, which I feel was
his true forte. But by the time he recorded his Golden Days CD in 1994
(when he was 42), he was obviously having problems both with pitch and
vocal production (his strained upper register makes for uncomfortable
listening on his duet with Mario), and, vocally, things seemed to have
gone downhill from that time. He still had his good days, though (as
one can hear on some of the youtube clips of him from the 1990s), and,
according to Martha Hart, his later Viennese album is beautiful.
However, on the last of his CDs that I bought -- a collection of
Neapolitan songs from 1995 -- he was from being at his best.
But for prime Hadley -- as I wrote on another thread -- his
performances (both live and studio) as Candide, together with his
superb Ravenal in Show Boat, are hard to beat. These are probably on
youtube as well. I also love his rendition of Bernstein's Lonely Town
from his first RCA/BMG album.
Cheers
Derek
thriving career had floundered because of vocal problems; this in turn
led to financial difficulties for him (compounded by the break-up of
his marriage), and he also battled both depression and problems with
alcohol. In 2006 he was arrested for DUI in New York City after a
passerby had noticed him slumped in his parked car, and although the
charges were eventually dropped, the bad publicity was yet another
blow to his morale at a time when he was trying to rebuild his voice
and career. His last appearances were as Pinkerton in a production of
Madama Butterfly in Brisbane, Australia, in May-June of last year; he
killed himself just five weeks later. While in Brisbane, he had spoken
movingly of his recent problems, noting that he had stopped performing
for some time because "a wounded bird cannot sing", and he had seemed
optimistic about reviving his career. The reviews in Brisbane were
reasonable, observing that although he had trouble with his upper
register at times, his middle register remained the Hadley sound of
yore. Sadly, though, on his return to the US, he had to contend with
imminent bankruptcy, and possibly this was the tipping point for
him.
I didn't think that he was necessarily looking for comic roles as such
in his last months, but rather supporting roles in operas. According
to friends, he had also been trying to find teaching/mentoring work in
the music department of a university; incredibly (and tragically), no
institution would even consider him. And yet he had still so much to
offer.
By all accounts, he was an exceptionally nice person: fun-loving,
witty, generous, and also a very cerebral man. My friend writer-
photographer Martha Hart found him fascinating to observe -- and to
interview; you can see some of her many photos of him here and other
resources (including recommended recordings) here:
http://www.mlhart.com/WordsMusic/bio_Hadley.htm
To be honest, I don't regard him as one of the great tenors, but
rather as a very *fine* one. I can't think of another American tenor
that's emerged in the last 20 years or so who has given me as much
pleasure, especially in the musical theatre genre, which I feel was
his true forte. But by the time he recorded his Golden Days CD in 1994
(when he was 42), he was obviously having problems both with pitch and
vocal production (his strained upper register makes for uncomfortable
listening on his duet with Mario), and, vocally, things seemed to have
gone downhill from that time. He still had his good days, though (as
one can hear on some of the youtube clips of him from the 1990s), and,
according to Martha Hart, his later Viennese album is beautiful.
However, on the last of his CDs that I bought -- a collection of
Neapolitan songs from 1995 -- he was from being at his best.
But for prime Hadley -- as I wrote on another thread -- his
performances (both live and studio) as Candide, together with his
superb Ravenal in Show Boat, are hard to beat. These are probably on
youtube as well. I also love his rendition of Bernstein's Lonely Town
from his first RCA/BMG album.
Cheers
Derek
Vicki
Sep 3, 2008, 9:37:23 PM9/3/08
to The Mario Lanza Forum
I am a huge Jerry Hadley fan. I followed his career from the 1980s to
his untimely death last year and own most of his recordings (including
the duets with Thomas Hampson and Golden Days recording cited in this
discussion thread). While I didn't know Jerry personally, I do know
several of his close friends and colleagues. We have had many
conversations about Jerry's life and work since his tragic death last
year. I must respectfully disagree with Derek on a couple of points
in his fine post. e.g.
academic institutions. Certainly, the University of Illinois-UC would
never have turned its back on Hadley. No way. He was a much loved and
respected alum/colleague/friend who had recently (2005) returned to
mentor and participate in a production of Candide (not in the title
role). Jerry turned all the offers down (or at least took a rain
check) because he wanted to continue concentrating on his performing
career. He was also in demand for master classes.
Hadley's decision to eschew teaching and to continue to try to revive
his career was controversial among his friends and fans. Certainly his
voice was not the same voice we heard in the 80s and early 90s. There
had been changes in teachers and technique (I never heard about the
TMJ-please send me a link to the article), continued problems with
allergies and the aging. The divorce and the subsequent alienation
from his children were huge influences on his voice and his emotional
state. It was still a very beautiful and expressive voice.
Anyway, by 2007, he had new management and was starting to attempt the
bigger roles to mixed reviews (as Derek points out).. On an
overwhelmingly positive note, at the time of this death, he was
planning to record the complex and beautifully orchestrated songs of
Eric Korngold in collaboration with phenomenal pianist/conductor Alex
Frey. Frey is a Korngold expert and a virtuosic and an exquisitely
sensitive and intelligent pianist. If Hadley's recording of "Du bist
mein Traum" on "The World is Beautiful" and Frey's recordings of the
Korngold piano music are any indication, these recordings would have
been absolutely stunning.
I disagree with Derek's opinion (and he is certainly entitled to his;
that's why these forums are so interesting) that Hadley was not one of
the great tenors. If greatness is determined by size of voice, then
Hadley was not great; his voice was certainly not comparable to a
Lanza's spinto. Hadley's was basically a Mozart, Gounod, Donizetti
lyric tenor. However, if greatness is judged by beauty of the
instrument -balance, color, resonance (whatever the size), by
intelligent singing (understanding of style, interpretation of text,
diction, attention to musical detail and composer intent), and
versatility, then Hadley was certainly one of the best. His voice was
not only stunning as an operatic instrument, it was beautifully suited
to musical theater and song literature. And, it was, at its best, a
very beautiful instrument (Korngold, Una furtiva lagrima, Candide, Au
font du temple saint, etc., etc) He was an incredibly intelligent
singer, with impeccable diction (in every language) and sense of
style, who took risks (crossover to musical theater) and sought out
lesser known works (City of Mahogany, Rake's Progress, Korngold). I
think he was one of the greats.
Derek is correct in saying that Jerry likable. His joke and story
telling ability are legend. He was also highly intelligent and an
expert on the Alamo and other historical topics.
Regarding Jerry's suicide, certainly only those closest to him know
exactly what happened. The role of the DUI may have been overplayed.
While humiliating, it brought him back into the public eye after the
hiatus that occurred after his very bitter divorce from Cheryll Drake
Hadley. Certainly, at the time of his death he was battling
depression, had serious financial woes and family problems. However,
he also had many devoted friends, like Alex Frey, the Dahlheims, Lea
Frey, the Hedlunds, the Diazmunoz Family, Brian Cheney and Frank
Thompson. He had a wonderful fiancée, Anne McMillan and a great sister
and extended family. Then there were the legions of fans. I guess
those things weren't enough. If only he could have seen his value
through our eyes.
his untimely death last year and own most of his recordings (including
the duets with Thomas Hampson and Golden Days recording cited in this
discussion thread). While I didn't know Jerry personally, I do know
several of his close friends and colleagues. We have had many
conversations about Jerry's life and work since his tragic death last
year. I must respectfully disagree with Derek on a couple of points
in his fine post. e.g.
"According
> to friends, he had also been trying to find teaching/mentoring work in
> the music department of a university; incredibly (and tragically), no
> institution would even consider him. And yet he had still so much to
> offer."
Actually, there were a number of offers of faculty positions from
> to friends, he had also been trying to find teaching/mentoring work in
> the music department of a university; incredibly (and tragically), no
> institution would even consider him. And yet he had still so much to
> offer."
academic institutions. Certainly, the University of Illinois-UC would
never have turned its back on Hadley. No way. He was a much loved and
respected alum/colleague/friend who had recently (2005) returned to
mentor and participate in a production of Candide (not in the title
role). Jerry turned all the offers down (or at least took a rain
check) because he wanted to continue concentrating on his performing
career. He was also in demand for master classes.
Hadley's decision to eschew teaching and to continue to try to revive
his career was controversial among his friends and fans. Certainly his
voice was not the same voice we heard in the 80s and early 90s. There
had been changes in teachers and technique (I never heard about the
TMJ-please send me a link to the article), continued problems with
allergies and the aging. The divorce and the subsequent alienation
from his children were huge influences on his voice and his emotional
state. It was still a very beautiful and expressive voice.
Anyway, by 2007, he had new management and was starting to attempt the
bigger roles to mixed reviews (as Derek points out).. On an
overwhelmingly positive note, at the time of this death, he was
planning to record the complex and beautifully orchestrated songs of
Eric Korngold in collaboration with phenomenal pianist/conductor Alex
Frey. Frey is a Korngold expert and a virtuosic and an exquisitely
sensitive and intelligent pianist. If Hadley's recording of "Du bist
mein Traum" on "The World is Beautiful" and Frey's recordings of the
Korngold piano music are any indication, these recordings would have
been absolutely stunning.
I disagree with Derek's opinion (and he is certainly entitled to his;
that's why these forums are so interesting) that Hadley was not one of
the great tenors. If greatness is determined by size of voice, then
Hadley was not great; his voice was certainly not comparable to a
Lanza's spinto. Hadley's was basically a Mozart, Gounod, Donizetti
lyric tenor. However, if greatness is judged by beauty of the
instrument -balance, color, resonance (whatever the size), by
intelligent singing (understanding of style, interpretation of text,
diction, attention to musical detail and composer intent), and
versatility, then Hadley was certainly one of the best. His voice was
not only stunning as an operatic instrument, it was beautifully suited
to musical theater and song literature. And, it was, at its best, a
very beautiful instrument (Korngold, Una furtiva lagrima, Candide, Au
font du temple saint, etc., etc) He was an incredibly intelligent
singer, with impeccable diction (in every language) and sense of
style, who took risks (crossover to musical theater) and sought out
lesser known works (City of Mahogany, Rake's Progress, Korngold). I
think he was one of the greats.
Derek is correct in saying that Jerry likable. His joke and story
telling ability are legend. He was also highly intelligent and an
expert on the Alamo and other historical topics.
Regarding Jerry's suicide, certainly only those closest to him know
exactly what happened. The role of the DUI may have been overplayed.
While humiliating, it brought him back into the public eye after the
hiatus that occurred after his very bitter divorce from Cheryll Drake
Hadley. Certainly, at the time of his death he was battling
depression, had serious financial woes and family problems. However,
he also had many devoted friends, like Alex Frey, the Dahlheims, Lea
Frey, the Hedlunds, the Diazmunoz Family, Brian Cheney and Frank
Thompson. He had a wonderful fiancée, Anne McMillan and a great sister
and extended family. Then there were the legions of fans. I guess
those things weren't enough. If only he could have seen his value
through our eyes.
Derek McGovern
Sep 4, 2008, 12:01:08 AM9/4/08
to The Mario Lanza Forum
Thank you for this fascinating post, Vicki.
I'm delighted to be proven wrong about Jerry Hadley not being able to
secure faculty work -- and this just goes to show that one should
never believe everything that one reads in the newspapers! The source
definitely claimed to be a close friend, and I think it was reported
in the Chicago Tribune at the time.
Hadley's bout with TMJ (as mentioned by Tony) was also reported in one
of the obituaries:
"While taking on increasingly challenging roles at the City Opera,
Hadley began appearing as a guest in companies around the country, but
his career was temporarily sidetracked in the mid-1980s by a painful
bout of temporomandibular syndrome, which made singing excruciatingly
painful for his jaw. He recovered after withdrawing from the stage for
six months, but on his return began limiting his roles to the bel
canto and Mozart that became the bedrock of his fame."
When I wrote that I don't consider Hadley one of the great tenors --
but instead a very fine one -- I should have made it clear that I was
referring purely to his vocal instrument (specifically, timbre and
range), not the way in which he used his voice. While I would have
given my eyeteeth to have had an instrument of that quality, I have to
be honest and acknowledge that I don't hear in Jerry Hadley a voice as
great as, say, that of the young Carreras, the young Di Stefano, or
Wunderlich (who probably is closest to Hadley in terms of basic
color). What I hear instead is a very beautiful voice, but not a
miraculous one. (These things are subjective, of course.) I certainly
wasn't referring to the size of his voice, though -- after all, he was
essentially a lyric tenor -- nor was I comparing him with Lanza, whom,
as you rightly point out, was a spinto.
But if we're discussing him as a *singer*, then I agree with
everything you say about his sense of commitment, style, his diction,
versatility, and intelligence. In these respects, I would *much*
sooner listen to him than, say, Pavarotti. Luciano may have had the
greater instrument, but in my opinion he was not the artist that Jerry
Hadley was.
All the best
Derek
I'm delighted to be proven wrong about Jerry Hadley not being able to
secure faculty work -- and this just goes to show that one should
never believe everything that one reads in the newspapers! The source
definitely claimed to be a close friend, and I think it was reported
in the Chicago Tribune at the time.
Hadley's bout with TMJ (as mentioned by Tony) was also reported in one
of the obituaries:
"While taking on increasingly challenging roles at the City Opera,
Hadley began appearing as a guest in companies around the country, but
his career was temporarily sidetracked in the mid-1980s by a painful
bout of temporomandibular syndrome, which made singing excruciatingly
painful for his jaw. He recovered after withdrawing from the stage for
six months, but on his return began limiting his roles to the bel
canto and Mozart that became the bedrock of his fame."
When I wrote that I don't consider Hadley one of the great tenors --
but instead a very fine one -- I should have made it clear that I was
referring purely to his vocal instrument (specifically, timbre and
range), not the way in which he used his voice. While I would have
given my eyeteeth to have had an instrument of that quality, I have to
be honest and acknowledge that I don't hear in Jerry Hadley a voice as
great as, say, that of the young Carreras, the young Di Stefano, or
Wunderlich (who probably is closest to Hadley in terms of basic
color). What I hear instead is a very beautiful voice, but not a
miraculous one. (These things are subjective, of course.) I certainly
wasn't referring to the size of his voice, though -- after all, he was
essentially a lyric tenor -- nor was I comparing him with Lanza, whom,
as you rightly point out, was a spinto.
But if we're discussing him as a *singer*, then I agree with
everything you say about his sense of commitment, style, his diction,
versatility, and intelligence. In these respects, I would *much*
sooner listen to him than, say, Pavarotti. Luciano may have had the
greater instrument, but in my opinion he was not the artist that Jerry
Hadley was.
All the best
Derek
Tonytenor
Sep 4, 2008, 12:24:07 PM9/4/08
to The Mario Lanza Forum
Hi Vicki! Yes thank you so much for you detailed posting. I too
always liked Jerry Hadley and I seem to recall seeing him in a
telecast of Puccini's LA RONDINE from the NYC Opera many years ago and
thinking he was wonderful. Not just a singer with a beautiful voice
but a "singing actor." In all events it is sad indeed, as you say,
that Jerry could not see all that was positive and loving in his life
- or perhaps not perceiving it as enough.
As far as the TMJ goes, I remember reading a very in depth article in
OPERA NEWS about Jerry, an interview with him about his problem with
TMJ and all that he had to do to rehab. It took great courage, I
think, and I think it is safe to say that he made a full recovery.
Alas, the particular issue of ON the article was in is long gone, so
sorry. But that's how I knew of his issue with the malady.
All the best, Tony
> ...
>
> read more »- Hide quoted text -
>
> - Show quoted text -
always liked Jerry Hadley and I seem to recall seeing him in a
telecast of Puccini's LA RONDINE from the NYC Opera many years ago and
thinking he was wonderful. Not just a singer with a beautiful voice
but a "singing actor." In all events it is sad indeed, as you say,
that Jerry could not see all that was positive and loving in his life
- or perhaps not perceiving it as enough.
As far as the TMJ goes, I remember reading a very in depth article in
OPERA NEWS about Jerry, an interview with him about his problem with
TMJ and all that he had to do to rehab. It took great courage, I
think, and I think it is safe to say that he made a full recovery.
Alas, the particular issue of ON the article was in is long gone, so
sorry. But that's how I knew of his issue with the malady.
All the best, Tony
>
> read more »- Hide quoted text -
>
> - Show quoted text -
Lover of Grand Voices
Sep 5, 2008, 9:18:45 AM9/5/08
to The Mario Lanza Forum
Derek, I agree with you. The loss of talents like this, so early in
life, is sad and leaves a void behind.
He had a lovely voice and, as you note, this is all subjective but
there are differences in the voices and performances of tenors that
project emotion, passion and excitement. He sang beautifully and
successfully and perhaps could have done even more with his
instrument. I wonder how successful he was as a crossover artist? In
my view, Lanza is still numero uno in this catagory.
> ...
>
> read more »
life, is sad and leaves a void behind.
He had a lovely voice and, as you note, this is all subjective but
there are differences in the voices and performances of tenors that
project emotion, passion and excitement. He sang beautifully and
successfully and perhaps could have done even more with his
instrument. I wonder how successful he was as a crossover artist? In
my view, Lanza is still numero uno in this catagory.
>
> read more »
Aline staires
Sep 5, 2008, 2:05:40 PM9/5/08
to mario...@googlegroups.com
|
May I jump in here just for a moment? I have a collection of the four tenors,Pavarotti , Domingo.Carraras and Mario. At night I put on a cd to go to sleep by (Ask Muriel!) and I"ve played the Mario one so often I decided to give Pav a go. When I first became aware o f him I tho't he was the living end but when I put him on the other night, I couldn't believe how much his voice had changed! I'll just have to find another Mario cd to sleep with. Now there's a thought!!! Aline
-------Original Message------- |
Vicki
Sep 8, 2008, 8:13:56 AM9/8/08
to The Mario Lanza Forum
Dear Lover of Grand Voices:
I agree that Mario was wildly successful as a crossover artist. I just
wonder if you've heard Jerry's "Standing Room Only" album or any of
his song albums? I agree that Golden Days was not his best work, but
there are others. His interpretations were sensitive and intelligent.
Victoria
> ...
>
> read more »
I agree that Mario was wildly successful as a crossover artist. I just
wonder if you've heard Jerry's "Standing Room Only" album or any of
his song albums? I agree that Golden Days was not his best work, but
there are others. His interpretations were sensitive and intelligent.
Victoria
>
> read more »
Derek McGovern
Sep 8, 2008, 6:51:52 PM9/8/08
to The Mario Lanza Forum
Hi Vicki: I've been listening to a fair bit of Jerry Hadley since this
thread started, and what has stood out for me is his soft singing,
which is often very beautiful indeed. "It must be so" from Candide,
for example (a live version is available on youtube), and Victor
Herbert's Indian Summer, which is on the same album as the Lanza
Golden Days "duet", are both glorious. Conversely, I often find that
when he sings with his full voice on his 1990s recordings that there's
a certain hardness (for want of a better word) in his timbre. To me,
he was at his best in his more delicate singing.
Incidentally, there was a good rendition of Without a Song by Hadley
-- recorded on a cellphone during a masterclass that he gave last
year! -- on youtube a few months back. It may still be there.
> ...
>
> read more »
thread started, and what has stood out for me is his soft singing,
which is often very beautiful indeed. "It must be so" from Candide,
for example (a live version is available on youtube), and Victor
Herbert's Indian Summer, which is on the same album as the Lanza
Golden Days "duet", are both glorious. Conversely, I often find that
when he sings with his full voice on his 1990s recordings that there's
a certain hardness (for want of a better word) in his timbre. To me,
he was at his best in his more delicate singing.
Incidentally, there was a good rendition of Without a Song by Hadley
-- recorded on a cellphone during a masterclass that he gave last
year! -- on youtube a few months back. It may still be there.
>
> read more »
Vicki
Sep 8, 2008, 9:11:02 PM9/8/08
to The Mario Lanza Forum
Hi, Derek.
Jerry's soft singing was, indeed, beautiful. "It must be so" from
Candide is a great example. I also love the controlled high,
pianissimo Bbs he sang on the recording of Au font du temple saint
with Tom Hampson . I listen to Tom and Jerry sing that duet over and
over (they performed it frequently in concert).
While I agree that there were times when Jerry's voice could taken on
a hard edge...particularly in the later years. Even Mario, whose
recordings I have enjoyed all my life, produced a few gross recordings
(His Brindisi from La Traviata was none too great). There are many
examples of Jerry singing full voice that are really beautifu....the
Korngold would be a good example. I love most of his operatic
recordings. I have a nice concert version Bohème.
As for that cell phone recording...his UI friends were very upset by
that and asked the student take it down. I'm happy he complied. Jerry
produced far better recordings of Without a Song, which was a
signature piece of his.
Vicki
> ...
>
> read more »
Jerry's soft singing was, indeed, beautiful. "It must be so" from
Candide is a great example. I also love the controlled high,
pianissimo Bbs he sang on the recording of Au font du temple saint
with Tom Hampson . I listen to Tom and Jerry sing that duet over and
over (they performed it frequently in concert).
While I agree that there were times when Jerry's voice could taken on
a hard edge...particularly in the later years. Even Mario, whose
recordings I have enjoyed all my life, produced a few gross recordings
(His Brindisi from La Traviata was none too great). There are many
examples of Jerry singing full voice that are really beautifu....the
Korngold would be a good example. I love most of his operatic
recordings. I have a nice concert version Bohème.
As for that cell phone recording...his UI friends were very upset by
that and asked the student take it down. I'm happy he complied. Jerry
produced far better recordings of Without a Song, which was a
signature piece of his.
Vicki
>
> read more »
Vicki
Sep 8, 2008, 10:03:21 PM9/8/08
to The Mario Lanza Forum
Sorry for all the typos in my last post.
For anyone interested in Jerry Hadley, here is a great site:
http://www.fanfaire.com/conq/hadleytributes.html
> ...
>
> read more »
For anyone interested in Jerry Hadley, here is a great site:
http://www.fanfaire.com/conq/hadleytributes.html
>
> read more »
Reply all
Reply to author
Forward
Message has been deleted
0 new messages