Sergio Franchi
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Tonytenor
Oct 31, 2008, 6:37:48 PM10/31/08
to The Mario Lanza Forum
Hello all! I'm not sure if anyone in the forum shares my affection
for the late Italian-American tenor Sergio Franchi but if you do, you
may want to check out this relatively new DVD (and CD) from SOFA
Entertainment. It is a collection of some of Sergio's guest
appearances on the Ed Sullivan Show. It is quite good, as is the CD
of the same performances. I have long wanted to SEE Sergio perform. I
was fortunate enough to see him live in 1986 at the New Jersey State
Fair - he was wonderul but we were a good enough distance from the
stage and I could not really see his vocal technique. I must be
honest and say that he gets my vote for perhaps being the most vocally
romantic crossover tenor of all time. He knew how to sell a song, how
to tell the story and while his forte top was good - I think he spread
a bit too much at times, perhaps trying to go for a more "pop" sound -
his sotto voce and mixed voice, with a majority of head voice could be
breathtaking. For my money, Sergio's version of Victor Young's
"Stella By Starlight" is the definitive reading of this beautiful
piece. In all events, I shall stop waxing Sergio and simply provide
the link to the DVD. As I say, the CD is simply the audio of all the
selections on the DVD with the exception of "Take The Moment" from DO
I HEAR A WALTZ (which he starred in with Elizabeth Allen on Broadway
back in the mid 1960s). Here's the link:
http://www.sofaentertainment.com/sergio-franchi-sullivan-show-p-175.html
Ciao,
Tony
PS: You can see a commercial for the DVD on YouTube:
http://www.youtube.com/results?search_query=Sergio+Franchi&search_type=&aq=f
for the late Italian-American tenor Sergio Franchi but if you do, you
may want to check out this relatively new DVD (and CD) from SOFA
Entertainment. It is a collection of some of Sergio's guest
appearances on the Ed Sullivan Show. It is quite good, as is the CD
of the same performances. I have long wanted to SEE Sergio perform. I
was fortunate enough to see him live in 1986 at the New Jersey State
Fair - he was wonderul but we were a good enough distance from the
stage and I could not really see his vocal technique. I must be
honest and say that he gets my vote for perhaps being the most vocally
romantic crossover tenor of all time. He knew how to sell a song, how
to tell the story and while his forte top was good - I think he spread
a bit too much at times, perhaps trying to go for a more "pop" sound -
his sotto voce and mixed voice, with a majority of head voice could be
breathtaking. For my money, Sergio's version of Victor Young's
"Stella By Starlight" is the definitive reading of this beautiful
piece. In all events, I shall stop waxing Sergio and simply provide
the link to the DVD. As I say, the CD is simply the audio of all the
selections on the DVD with the exception of "Take The Moment" from DO
I HEAR A WALTZ (which he starred in with Elizabeth Allen on Broadway
back in the mid 1960s). Here's the link:
http://www.sofaentertainment.com/sergio-franchi-sullivan-show-p-175.html
Ciao,
Tony
PS: You can see a commercial for the DVD on YouTube:
http://www.youtube.com/results?search_query=Sergio+Franchi&search_type=&aq=f
Thelma
Oct 31, 2008, 7:19:30 PM10/31/08
to The Mario Lanza Forum
Yes, I plan to put this on my Christmas list. I love Mario Lanza
first, then Fritz Wnderlich and then Sergio Franchi. I saw him up
close in Las Vegas in 1972, and he was simply wonderful. Derek
doesn't care for him, but that's OK, I certainly do. I agree with you
about "Stella by Starlight" too.
> PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...
first, then Fritz Wnderlich and then Sergio Franchi. I saw him up
close in Las Vegas in 1972, and he was simply wonderful. Derek
doesn't care for him, but that's OK, I certainly do. I agree with you
about "Stella by Starlight" too.
Derek McGovern
Oct 31, 2008, 7:35:39 PM10/31/08
to The Mario Lanza Forum
Hi Thelma: I never said I "didn't care" for Franchi's voice; I
actually wrote that he had a very pleasant, virile sound. It was an
unusual voice in some respects: dark, but with quite a bright top. And
I'm sure he was an exciting performer in person. It's just that I
don't rate him as one of the *great* tenors -- certainly not in the
same category as the likes of Lanza, Wunderlich, the young Carreras,
Di Stefano, Gigli, Caruso, etc.
actually wrote that he had a very pleasant, virile sound. It was an
unusual voice in some respects: dark, but with quite a bright top. And
I'm sure he was an exciting performer in person. It's just that I
don't rate him as one of the *great* tenors -- certainly not in the
same category as the likes of Lanza, Wunderlich, the young Carreras,
Di Stefano, Gigli, Caruso, etc.
Message has been deleted
Tonytenor
Nov 1, 2008, 9:45:24 AM11/1/08
to The Mario Lanza Forum
Thelma: I think you will enjoy the DVD greatly. Sergio was a handsome
and charming son-of-a gun and he had a continental aura which I
daresay made him even more appealing with the ladies. IMO perhaps the
finest recording Sergio made was his in concert performace at the, now
long gone, Cocoanut Grove in Los Angeles, CA.
I have to confess that I am a very big fan of live, in performance
recordings - that is why I love the RAH concert so very much. Yes, I
will conceed that from a purely technical standpoint studio recordings
are almost always superior. But for me, studio recordings, so very
often, lack the "electricity" that exists between a performer and
their audience.
Here we are over fifty years later and Mario's performance at RAH on
January 16, 1958 still grabs me emotionally in a way that none of his
recordings quite do. Yes, I think we all agree that his singing that
night was far from flawless; the intonation problem at the end of "The
House On The Hill," the lyric flub at the end of "Softly As In a
Morning Sunrise," and the less that ideal run at the end of "La Donna
E Moblie," and there are others if one wants to pick thinks apart.
But I don't. Rather, I want to hear and feel Mario's progessive
relationship with the audience that night - some 8000 plus if memory
serves...
So it is with Sergio Franchi. To my ear, his is at his absolute best
when connecting and interacting with an audience. He brings just
enough charm and humor to the performance without diminishing the real
purpose of his presence, and that was to SING. And sing he did.
Right from the opening medley through his moving and unusually lyrical
reading of "Core 'n grato." Some highlights for me? "Stella By
Starlight" - as I mentioned in a previous post, the finest reading of
this song ever, IMO. Meredith Willson (composer of THE MUSIC MAN) had
a variety show back in the mid-sixties and he had heard Sergio's
reading of "Stella By Starlight" and subsequently asked hi to appear
on his show and sing this lovely song. Apparently Sergio did and
Willson surprised him by giving Sergio the original Victor Young
manuscript of "Stella By Starlight" which Meredith Willson was in
possesion of. The story goes that he told Sergio that he, Willson,
felt Sergio's was the finest performance he' d ever heard of the song
and felt it only right for him to have the manuscript. A wonderful
story, if true, and certainly a testament to Sergio Franchi the
artist.
In all events, I believe I've waxed sufficiently about Sergio. I will
close with one thought -and not an original one. Some time ago I read
an article about the late Rudolf Bing. It was not a very
complimentary writing - no real surprise there - but it mentioned
Sergio Franchi. More specifically, how Bing dismissed him as a mere
"pop" singer and never seriously considered him for the Met. The
writer of this article opines that this was a major mistake that Bing
made. Franchi certainly could and did sing both opera and operetta in
Italy and South Africa. Bing could have, if he'd been smart anad not
prudish, capitalized on the crossover poularity that Franchi was
enjoying in this country. Imagine, a singer able to bring opera and
classical music to people who would otherwise not set foot in an opera
house. Hmmm... sound like any other tenor we know?
Ciao,
Tony
On Oct 31, 7:48 pm, Thelma <TFPri...@gmail.com> wrote:
> I simply meant you don't put Franchi in the same category as I do; you
> don't like him like I do, or as much as I do.
> > > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...Hide quoted text -
>
> > - Show quoted text -- Hide quoted text -
>
> - Show quoted text -
and charming son-of-a gun and he had a continental aura which I
daresay made him even more appealing with the ladies. IMO perhaps the
finest recording Sergio made was his in concert performace at the, now
long gone, Cocoanut Grove in Los Angeles, CA.
I have to confess that I am a very big fan of live, in performance
recordings - that is why I love the RAH concert so very much. Yes, I
will conceed that from a purely technical standpoint studio recordings
are almost always superior. But for me, studio recordings, so very
often, lack the "electricity" that exists between a performer and
their audience.
Here we are over fifty years later and Mario's performance at RAH on
January 16, 1958 still grabs me emotionally in a way that none of his
recordings quite do. Yes, I think we all agree that his singing that
night was far from flawless; the intonation problem at the end of "The
House On The Hill," the lyric flub at the end of "Softly As In a
Morning Sunrise," and the less that ideal run at the end of "La Donna
E Moblie," and there are others if one wants to pick thinks apart.
But I don't. Rather, I want to hear and feel Mario's progessive
relationship with the audience that night - some 8000 plus if memory
serves...
So it is with Sergio Franchi. To my ear, his is at his absolute best
when connecting and interacting with an audience. He brings just
enough charm and humor to the performance without diminishing the real
purpose of his presence, and that was to SING. And sing he did.
Right from the opening medley through his moving and unusually lyrical
reading of "Core 'n grato." Some highlights for me? "Stella By
Starlight" - as I mentioned in a previous post, the finest reading of
this song ever, IMO. Meredith Willson (composer of THE MUSIC MAN) had
a variety show back in the mid-sixties and he had heard Sergio's
reading of "Stella By Starlight" and subsequently asked hi to appear
on his show and sing this lovely song. Apparently Sergio did and
Willson surprised him by giving Sergio the original Victor Young
manuscript of "Stella By Starlight" which Meredith Willson was in
possesion of. The story goes that he told Sergio that he, Willson,
felt Sergio's was the finest performance he' d ever heard of the song
and felt it only right for him to have the manuscript. A wonderful
story, if true, and certainly a testament to Sergio Franchi the
artist.
In all events, I believe I've waxed sufficiently about Sergio. I will
close with one thought -and not an original one. Some time ago I read
an article about the late Rudolf Bing. It was not a very
complimentary writing - no real surprise there - but it mentioned
Sergio Franchi. More specifically, how Bing dismissed him as a mere
"pop" singer and never seriously considered him for the Met. The
writer of this article opines that this was a major mistake that Bing
made. Franchi certainly could and did sing both opera and operetta in
Italy and South Africa. Bing could have, if he'd been smart anad not
prudish, capitalized on the crossover poularity that Franchi was
enjoying in this country. Imagine, a singer able to bring opera and
classical music to people who would otherwise not set foot in an opera
house. Hmmm... sound like any other tenor we know?
Ciao,
Tony
On Oct 31, 7:48 pm, Thelma <TFPri...@gmail.com> wrote:
> I simply meant you don't put Franchi in the same category as I do; you
> don't like him like I do, or as much as I do.
>
> > - Show quoted text -- Hide quoted text -
>
> - Show quoted text -
Maria Luísa
Nov 1, 2008, 10:44:59 AM11/1/08
to The Mario Lanza Forum
I went to hear this singer after reading your message. I had heard his
voice only once sometime ago on Youtube in a regular recording due to
something I had read about his widow, because of that I did not pay
him much attention then to his voice to be honest. Today was different
and I must say I was greatly surprised after watching seven videos. A
very beautiful tone of voice full of power and very clear. Wonderful
diction. I agree, if he did not get into Opera world, I mean if he was
not invited to, then that was a big shame because he positively would
have become a great tenor I think. He died young so I read, what was
the cause? Car accident? Heart-atack? Thanks Tonytenor for bringing
Sergio Franchi into our knowledge, at least into mine.
> PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...
voice only once sometime ago on Youtube in a regular recording due to
something I had read about his widow, because of that I did not pay
him much attention then to his voice to be honest. Today was different
and I must say I was greatly surprised after watching seven videos. A
very beautiful tone of voice full of power and very clear. Wonderful
diction. I agree, if he did not get into Opera world, I mean if he was
not invited to, then that was a big shame because he positively would
have become a great tenor I think. He died young so I read, what was
the cause? Car accident? Heart-atack? Thanks Tonytenor for bringing
Sergio Franchi into our knowledge, at least into mine.
Sam
Nov 1, 2008, 1:54:55 PM11/1/08
to The Mario Lanza Forum
Tony, Derek, Thelma, Maria Luisa: My take on Sergio is that he should
be given a lot more credit today and be compared to the existing
tenors that can sing pop as well as opera. He would stand tall among
them for sheer talent and voice quality. His fine dark timbre and
bright top makes for a thrilling combination. He had a commanding
stature as well. My problem with Sergio was and is that I always
wanted MORE from him. That wide open sound near his top wasn't as
exciting as a more covered tone would be and, most importantly for a
tenor, I always felt he held back on the high notes. His performances
were the exact opposite of Mario's Coke Shows. Whenever there was an
opportunity for a high B or C, Sergio would end with a lower note.
Fred Day has gone so far as to document exactly how many high C's
Franchi put on record. Four of them...that is all. He has one amazing
high C (probably his best single note ever) at the end of "Diane". It
is truly exciting. PS. My friend Ron and I heard Sergio live in
Philadelphia on the old Mike Douglas Show and I am sorry to tell you
that many of his older female fans were thirsting for him to sing a
few notes to them during the commercial breaks and he flatly refused.
Again, he was sparing his voice. Alas, he died too young at age 64
from cancer of the brain.
> > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...- Hide quoted text -
be given a lot more credit today and be compared to the existing
tenors that can sing pop as well as opera. He would stand tall among
them for sheer talent and voice quality. His fine dark timbre and
bright top makes for a thrilling combination. He had a commanding
stature as well. My problem with Sergio was and is that I always
wanted MORE from him. That wide open sound near his top wasn't as
exciting as a more covered tone would be and, most importantly for a
tenor, I always felt he held back on the high notes. His performances
were the exact opposite of Mario's Coke Shows. Whenever there was an
opportunity for a high B or C, Sergio would end with a lower note.
Fred Day has gone so far as to document exactly how many high C's
Franchi put on record. Four of them...that is all. He has one amazing
high C (probably his best single note ever) at the end of "Diane". It
is truly exciting. PS. My friend Ron and I heard Sergio live in
Philadelphia on the old Mike Douglas Show and I am sorry to tell you
that many of his older female fans were thirsting for him to sing a
few notes to them during the commercial breaks and he flatly refused.
Again, he was sparing his voice. Alas, he died too young at age 64
from cancer of the brain.
Thelma
Nov 1, 2008, 6:54:28 PM11/1/08
to The Mario Lanza Forum
thank you for your notes about Sergio. Yes, I certainly am a fan of
his.I hear about these high notes which Sergio did not sing very much
from several people on the forums. But I don't feel that way. When
I heard him perform in 1972 for two hours in Las Vegas at the Flamenco
Hotel, I couldn't t believe what a BIG voice I heard. I believe I
must be a person who does not dissect the song itself too much when a
singer sings. I manage to get the meaning though! In person, I watch
the person's face and hear with my ears and Sergio thrilled me! It
wasn't just his handsome looks, it was his whole persona. Now when I
play his CD's I imagine him the way I saw him in the live show. This
show was full of energy with other singers and dancers joining in and
everybody was in a costume, although he had some solos. He sang
Stella by Starlight by himself and several others which ones I don't
remember Also he sang in the Still of the Night.. Yes, his voice was
a beautiful one, vibrant, thrilling and you just wanted more of it.
> > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...Hide quoted text -
>
> > - Show quoted text -- Hide quoted text -
his.I hear about these high notes which Sergio did not sing very much
from several people on the forums. But I don't feel that way. When
I heard him perform in 1972 for two hours in Las Vegas at the Flamenco
Hotel, I couldn't t believe what a BIG voice I heard. I believe I
must be a person who does not dissect the song itself too much when a
singer sings. I manage to get the meaning though! In person, I watch
the person's face and hear with my ears and Sergio thrilled me! It
wasn't just his handsome looks, it was his whole persona. Now when I
play his CD's I imagine him the way I saw him in the live show. This
show was full of energy with other singers and dancers joining in and
everybody was in a costume, although he had some solos. He sang
Stella by Starlight by himself and several others which ones I don't
remember Also he sang in the Still of the Night.. Yes, his voice was
a beautiful one, vibrant, thrilling and you just wanted more of it.
>
> > - Show quoted text -- Hide quoted text -
Message has been deleted
Maria Luísa
Nov 2, 2008, 9:00:57 AM11/2/08
to The Mario Lanza Forum
Thanks for your answer Sam. Not knowing anything about this sort of
things except from what I've been learning here following the
explanations you people write about, namely Derek, I wonder though did
Sergio have the right people near him to direct him to the proper
middle where he would find guiding to pursue the indispensable
belcanto learning - where by the way those high B's and C's are
learned by those who have the inner qualities to do it - in order
actually follow an opera career? Or was he discouraged from the very
beginning from the know-it-all critics? (We must not forget how very
lucky Mario was to have had so much wonderful help since his very
start, what would have happened to that magnificent voice had he had
not?). With his kind of big beautiful voice is quite believable that
Sergio would have attained immense success in Opera.
> > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...Hide quoted text -
things except from what I've been learning here following the
explanations you people write about, namely Derek, I wonder though did
Sergio have the right people near him to direct him to the proper
middle where he would find guiding to pursue the indispensable
belcanto learning - where by the way those high B's and C's are
learned by those who have the inner qualities to do it - in order
actually follow an opera career? Or was he discouraged from the very
beginning from the know-it-all critics? (We must not forget how very
lucky Mario was to have had so much wonderful help since his very
start, what would have happened to that magnificent voice had he had
not?). With his kind of big beautiful voice is quite believable that
Sergio would have attained immense success in Opera.
Maria Luísa
Nov 2, 2008, 9:47:39 AM11/2/08
to The Mario Lanza Forum
Excuse me Derek to write this subject in here, but looking for the
right thread to do it I could not find a recent one. What I did find
was myself reading several beautiful detailed analysis on Mario's
wonderful TGC Because and I think all those are from last year as I
saw no year date on that page, but I suppose that would not be the
proper place to leave this message. What I want to ask you Derek
please is, since the link you gave there which I went to check to hear
'that' Because, "is not valid" anymore could you possibly give another
do you think? I had no idea that Mario had recorded 4 Because, 3 bad
and only one splendid as in fact the TGC's is and that there were so
many differences in the quality of his beautiful voice between them.
Thanks Derek.
right thread to do it I could not find a recent one. What I did find
was myself reading several beautiful detailed analysis on Mario's
wonderful TGC Because and I think all those are from last year as I
saw no year date on that page, but I suppose that would not be the
proper place to leave this message. What I want to ask you Derek
please is, since the link you gave there which I went to check to hear
'that' Because, "is not valid" anymore could you possibly give another
do you think? I had no idea that Mario had recorded 4 Because, 3 bad
and only one splendid as in fact the TGC's is and that there were so
many differences in the quality of his beautiful voice between them.
Thanks Derek.
Tonytenor
Nov 2, 2008, 10:36:49 AM11/2/08
to The Mario Lanza Forum
To All:
Gosh, what great posts about Sergio! Maria Luisa, as Sam notes in his
post, Sergio died on May 1, 1990 of brain cancer. He was ill for some
time as I understand it. Although I can tell you, being in healthcare
as is my wife (in fact she used to be a RN case manager in
neurosurgery) that cancer of the brain tissue is a condition which can
be lived with for some time and it can also be quite quick, depending
upon the particular type of carcenoma. I do not know anything
specific about Sergio's case but from what I heard and read, he was
ill for an appreciably long time. Back in 1990 I was, in addition to
singing professionally, producing a one-hour program on classical vice
for NPR called "Singer's Spotlight."
in 1991 I had the opportunity to interview the pop tenor Enzo Stuarti
for a program on his life. We met in Florida where he was on tour and
I watched his show twice. He was a very pleasant man and wwe spent
well over two hours talking about his and music in general. He told
me that Sergio had been a good friend and that his death was a great
loss to him. As for Enzo Stuarti as a singer, I don't think there is
any comparison to be made between him and Sergio much less him and
Mario Lanza. He claimed, when I intereviewed him, that ML was a major
influence in his career and that, "My voice was so much like his that
people often got them confused." Well, when he said that I simply
held my tounge but there is no way, on God's green earth - IMO, that
anyone with half an ear could ever mistake Enzo Stuarti for ML or
Sergio Franchi. But I digress.
Sergio's voice, IMO was a unique one. Baritonal in quality at the
bottom (he had a good one) and up through the middle voice. As for
his top, the Ed Sullivan DVD is wonderfully revealling. I think it
was a fairly easy top and his use of pianissimo was quite lovely
(something I wish Mario had employed more often). I not speaking of
falsetto now but rather head voice or "mixed voice." When you watch
Sergio on this DVD you can see his "technique" in full display. He
very often spreads at the top rather than keeping the tone covered.
This of course is an artistic choice. My hunch is that Sergio somehow
believed that by spreading the tone, and he does it after he arrives
on the note in the usual covered fashion, he was sounding perhaps less
"operatic' and more "pop." This is merely a hypothesis as I do not
know for certain. But, watching him sing (and he sings a range of
repertoire, "Core 'n grato" to a dico-like "Granada) is indeed
revealing. One last thought. One Sergio's LIVE AT THE COCOANUT GROVE
CD - still available by the way, Neil Warner his music director plays
a beautiful and unusual accompaniment of Debussey's "Clair de Lune" as
Sergio sings Cole Porter's "In the Still of the Night." A most
inventive and lovely bit of musical joining.
Ciao,
Tony
Here's a link to Enzo Stuarti ( a selectio from his debut album for
Jubilee)
http://www.4shared.com/account/file/47800789/480e1445/Enzo_Stuarti_-_All_Or_Nothing_At_All1b_norm_.html
Think he sounds anything like Sergio or our boy???
> > > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...quoted text -
Gosh, what great posts about Sergio! Maria Luisa, as Sam notes in his
post, Sergio died on May 1, 1990 of brain cancer. He was ill for some
time as I understand it. Although I can tell you, being in healthcare
as is my wife (in fact she used to be a RN case manager in
neurosurgery) that cancer of the brain tissue is a condition which can
be lived with for some time and it can also be quite quick, depending
upon the particular type of carcenoma. I do not know anything
specific about Sergio's case but from what I heard and read, he was
ill for an appreciably long time. Back in 1990 I was, in addition to
singing professionally, producing a one-hour program on classical vice
for NPR called "Singer's Spotlight."
in 1991 I had the opportunity to interview the pop tenor Enzo Stuarti
for a program on his life. We met in Florida where he was on tour and
I watched his show twice. He was a very pleasant man and wwe spent
well over two hours talking about his and music in general. He told
me that Sergio had been a good friend and that his death was a great
loss to him. As for Enzo Stuarti as a singer, I don't think there is
any comparison to be made between him and Sergio much less him and
Mario Lanza. He claimed, when I intereviewed him, that ML was a major
influence in his career and that, "My voice was so much like his that
people often got them confused." Well, when he said that I simply
held my tounge but there is no way, on God's green earth - IMO, that
anyone with half an ear could ever mistake Enzo Stuarti for ML or
Sergio Franchi. But I digress.
Sergio's voice, IMO was a unique one. Baritonal in quality at the
bottom (he had a good one) and up through the middle voice. As for
his top, the Ed Sullivan DVD is wonderfully revealling. I think it
was a fairly easy top and his use of pianissimo was quite lovely
(something I wish Mario had employed more often). I not speaking of
falsetto now but rather head voice or "mixed voice." When you watch
Sergio on this DVD you can see his "technique" in full display. He
very often spreads at the top rather than keeping the tone covered.
This of course is an artistic choice. My hunch is that Sergio somehow
believed that by spreading the tone, and he does it after he arrives
on the note in the usual covered fashion, he was sounding perhaps less
"operatic' and more "pop." This is merely a hypothesis as I do not
know for certain. But, watching him sing (and he sings a range of
repertoire, "Core 'n grato" to a dico-like "Granada) is indeed
revealing. One last thought. One Sergio's LIVE AT THE COCOANUT GROVE
CD - still available by the way, Neil Warner his music director plays
a beautiful and unusual accompaniment of Debussey's "Clair de Lune" as
Sergio sings Cole Porter's "In the Still of the Night." A most
inventive and lovely bit of musical joining.
Ciao,
Tony
Here's a link to Enzo Stuarti ( a selectio from his debut album for
Jubilee)
http://www.4shared.com/account/file/47800789/480e1445/Enzo_Stuarti_-_All_Or_Nothing_At_All1b_norm_.html
Think he sounds anything like Sergio or our boy???
Sam
Nov 2, 2008, 11:23:16 AM11/2/08
to The Mario Lanza Forum
Tony: I think the ONLY reason people might associate Enzo Stuarti with
Lanza was that cheap album he released where he "sings Mario Lanza".
It goes no further than that as far as I am concerned. He has an
"okay" voice and no more. Sergio is way above him and Mario is in the
stratosphere above him.
By the way, get ready for Derek to call you out on your comment that
you wished Mario had sung more pianissimo. I will leave it to him!
> Jubilee)http://www.4shared.com/account/file/47800789/480e1445/Enzo_Stuarti_-_...
> > > > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...text -
Lanza was that cheap album he released where he "sings Mario Lanza".
It goes no further than that as far as I am concerned. He has an
"okay" voice and no more. Sergio is way above him and Mario is in the
stratosphere above him.
By the way, get ready for Derek to call you out on your comment that
you wished Mario had sung more pianissimo. I will leave it to him!
Derek McGovern
Nov 2, 2008, 2:03:34 PM11/2/08
to The Mario Lanza Forum
Hi Luísa: I'm afraid that link is no longer available to the
unreleased Because. But just to clarify one thing: I didn't mean to
imply on the "Because" thread that Lanza recorded three "bad" versions
of the song. The commercial version for RCA is OK, in my opinion; it
simply lacks the poignance and sensitivity of The Great Caruso
rendition. Lanza is also in particularly beautiful voice on the
"Caruso" version.
Just to keep the threads tidy (after all, this is supposed to be a
Sergio Franchi discussion :-)), can I suggest that in future when you
have this sort of question -- and the relevant thread is already
closed -- you simply use the "Current Off-Topic Thread". Thanks.
unreleased Because. But just to clarify one thing: I didn't mean to
imply on the "Because" thread that Lanza recorded three "bad" versions
of the song. The commercial version for RCA is OK, in my opinion; it
simply lacks the poignance and sensitivity of The Great Caruso
rendition. Lanza is also in particularly beautiful voice on the
"Caruso" version.
Just to keep the threads tidy (after all, this is supposed to be a
Sergio Franchi discussion :-)), can I suggest that in future when you
have this sort of question -- and the relevant thread is already
closed -- you simply use the "Current Off-Topic Thread". Thanks.
Message has been deleted
Derek McGovern
Nov 2, 2008, 7:29:23 PM11/2/08
to The Mario Lanza Forum
On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
> By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
Sam: I actually agree with Tony that Lanza underused his soft pedal at
> By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
times. But, of course, he proved often enough that he could employ it
to devastating effect when he wanted to. Think of Voce 'e Notte and
the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
Student Prince. Or the quite unexpected and magical bit of mezza voce
at the end of the RCA version of The Bayou Lullaby. Then there's the
discarded MGM version of All the Things You Are, on which Mario's a
veritable master of vocal dynamics -- going from full voice to mezza
voce on the same note -- in what is one of his greatest recordings of
a love song: http://www.4shared.com/account/file/38326755/3df7a3ac/All_The_Things_You_Are__rare_outtake__Lanza_1951_-_superb.html
But I disagree with Tony that Sergio Franchi is "the most vocally
romantic crossover tenor of all time". (No surprises as to whom I
think deserves that accolade!) For one thing, what did Franchi really
"cross over" from? While I realize that he started out in opera, and
also appeared in the operetta Die Fledermaus in the mid-1960s, for
most of his career he focused almost exclusively on pop. In this
sense, he's quite different from Lanza, who remained primarily an
operatic singer -- both in terms of what he sang and how he approached
his material. Yet Lanza could also switch effortlessly from something
as dramatic as the Otello Death Scene to a pleasant ditty like Come
Prima. Incredible versatility!
But with Franchi, I find that even when he's singing something like
Mamma Mia, Che Vo' Sape (a Neapolitan song that verges on the operatic
in its structure), he approaches it very casually, singing it as if it
were a pop or cabaret song.
I've been listening to a fair bit of Franchi on youtube since this
thread began (including those clips from the Ed Sullivan Show), and I
have to admit that I'm still rather puzzled as to why so many Lanza
fans rate him almost as highly
as they do Mario. Even the owner of the grandi-tenori site, Joern
Anthonisen, raves about Franchi, stating that he posessed a timbre and
sense of phrasing equal to that of Lanza. I don't hear those things in
Franchi; in fact, on some of the more demanding things (eg, Core
n'grato) his timbre sounds unattractively gritty or grainy to my ears,
and I seldom hear much passion or urgency in his singing. On English
love songs, though, I do find him very appealing, and I honestly feel
that pop, not opera, was his forte -- and that no doubt he recognized
that himself given the direction in which he took his career.
Incidentally, does anyone have Franchi's version of Passione? David
Weaver of the Rense forum was saying recently that he regards it as
superior to that of Lanza. Do the Franchi fans here agree? If it is
indeed better than Lanza's amazing recording, then it must be
something extraordinary!
Thelma
Nov 2, 2008, 8:46:00 PM11/2/08
to The Mario Lanza Forum
Sergio was Italian, as you all know. His father objected strongly to
Sergio's plans to be a singer and never encouraged him in this
career. I think Italian fathers are usually very strong with their
sons, so I wonder how much this influenced Sergio's career. Sergio
worked as an engineer (I forget what kind) for quite awhile when young
to please his father, so he didn't have his father's backing to
pursue singing.
On another subject, Everyone just does not have the same taste in the
voices they like. Sometimes we ourselves cannot explain exactly why
we like a certain singer. You have a really good command of English
and how to use language, Derek, which comes from your interest in
language and probably a very good education. Some of us, like me,
cannot express ourselves as well . I might be able to discuss nursing
issues with you better than you, because I probably know more about
that.. That may be why I go by my emotions about a singer more than
you do. In a way, I think I may agree with David Weaver in what he
said about emotional reactions to music. Each human being is allowed
to have his own opinions about how music seems to that person. David
is a singer himself also, so I think you might like to ask him more
about what he meant by his statements if you want to.
I have to look and see if I have Passione by Sergio. I have bought a
lot of new CD's lately.
On Nov 2, 7:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
> a love song:http://www.4shared.com/account/file/38326755/3df7a3ac/All_The_Things_...
Sergio's plans to be a singer and never encouraged him in this
career. I think Italian fathers are usually very strong with their
sons, so I wonder how much this influenced Sergio's career. Sergio
worked as an engineer (I forget what kind) for quite awhile when young
to please his father, so he didn't have his father's backing to
pursue singing.
On another subject, Everyone just does not have the same taste in the
voices they like. Sometimes we ourselves cannot explain exactly why
we like a certain singer. You have a really good command of English
and how to use language, Derek, which comes from your interest in
language and probably a very good education. Some of us, like me,
cannot express ourselves as well . I might be able to discuss nursing
issues with you better than you, because I probably know more about
that.. That may be why I go by my emotions about a singer more than
you do. In a way, I think I may agree with David Weaver in what he
said about emotional reactions to music. Each human being is allowed
to have his own opinions about how music seems to that person. David
is a singer himself also, so I think you might like to ask him more
about what he meant by his statements if you want to.
I have to look and see if I have Passione by Sergio. I have bought a
lot of new CD's lately.
On Nov 2, 7:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
Thelma
Nov 2, 2008, 9:11:35 PM11/2/08
to The Mario Lanza Forum
Here's the link to You Tube where Sergio is on the Ed Sullivan Show,
SofaEntertainment DVD; http://www.youtube.com/watch?v=l54MY_TgTYQ
> > something extraordinary!- Hide quoted text -
SofaEntertainment DVD; http://www.youtube.com/watch?v=l54MY_TgTYQ
Thelma
Nov 2, 2008, 9:23:45 PM11/2/08
to The Mario Lanza Forum
Another link where Sergio is on the Julie Andrews show. This is a
gorgeous piece of music to my ears. http://www.youtube.com/watch?v=l54MY_TgTYQ
Samson and Delilah
> > - Show quoted text -- Hide quoted text -
gorgeous piece of music to my ears. http://www.youtube.com/watch?v=l54MY_TgTYQ
Samson and Delilah
Message has been deleted
Thelma
Nov 2, 2008, 9:40:06 PM11/2/08
to The Mario Lanza Forum
I gave the wrong link for the Samson and Delilah piece. Here is the
correct one:
http://www.youtube.com/watch?v=1hWkHOcQ4cI&feature=related
On Nov 2, 9:31 pm, Thelma <TFPri...@gmail.com> wrote:
> Derek, Yes, i do have Passione by Sergio. It is out in the car and I
> haven't listened to it yet. It's on the Live at Coconut Grove Cd set
> (2). It would still be under copyright, so I don't know how to get it
> to you.
correct one:
http://www.youtube.com/watch?v=1hWkHOcQ4cI&feature=related
On Nov 2, 9:31 pm, Thelma <TFPri...@gmail.com> wrote:
> Derek, Yes, i do have Passione by Sergio. It is out in the car and I
> haven't listened to it yet. It's on the Live at Coconut Grove Cd set
> (2). It would still be under copyright, so I don't know how to get it
> to you.
Tonytenor
Nov 3, 2008, 12:01:16 AM11/3/08
to The Mario Lanza Forum
Derek, Here's a link to Franchi's "Passione." I don't think it's
better than Mario's, just quite different.
When I said: I must be honest and say that he gets my vote for
perhaps being the most vocally
romantic crossover tenor of all time. I was speaking, as you so well
pointed out Derek, of Franchi the pop-tenor. I agree with you, he
clearly made a decision, at some point, to concentrate on the popular
repertoire and thus adapt his vocal style accordingly. As for him
being a "crossover" artist, the fact remains that he did appear in
both operetta and opera in South Afica and Italy. Technically
speaking, he sang live opera, as a vocation, longer and more often
than Mario did. However as you pointed out, and this is very true I
believe, Mario remained, in his vocal style, a truly classical artist
whereas Sergio made the adaptation.
When Franchi was originally signed by RCA Victor they had him as a Red
Seal artist. It was only after his first few albums that he switched
to the more stylistically popular Gold Seal. It's rather interesting
to speculate as to exactly what prompted him to make the change. I
remember reading on one of his album's liner notes that he made the
decision so he could reach a broader audience and have a more intimate
relationship with them.
I agree with some of your observations Derek about Sergio's voice.
There was a huskiness to it at times and while the high Cs that he did
commit to record are good, I don't think he had the top or the
relative ease above the staff that Mario possessed virtually
throughout his entire career. One might even argue that Franchi was
more of a "bari-tenor." When you look at the majority of his
recordings, the overall tessitura is lower and on the staff. I would
also say, based on both recordings and to what people who worked with
Sergiio have told me, that Mario had a considerably larger
instrument. Certainly that alone is no reason why Sergio Franchi
could not have performed live opera. As I noted earlier, he did. If
mere vocal size were the standard, opera would not have had artists
like Cesare Valletti, Alfredo Kraus, Luigi Alva Beniamino Gigli, Jussi
Bloerling and, more recently, Jose Carreras. I think, without a
doubt, Mario Lanza had a bigger voice than any of the aforementioned
tenors. That said, it remains that Sergio focused the bulk of his
musical efforts in the popular repertoire and it is there I think that
he truly shines.
Ciao,
Tony
http://www.4shared.com/file/69406916/435e7c10/Sergio_Franchi_-_Passione.html
On Nov 2, 6:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
> a love song:http://www.4shared.com/account/file/38326755/3df7a3ac/All_The_Things_...
better than Mario's, just quite different.
When I said: I must be honest and say that he gets my vote for
perhaps being the most vocally
romantic crossover tenor of all time. I was speaking, as you so well
pointed out Derek, of Franchi the pop-tenor. I agree with you, he
clearly made a decision, at some point, to concentrate on the popular
repertoire and thus adapt his vocal style accordingly. As for him
being a "crossover" artist, the fact remains that he did appear in
both operetta and opera in South Afica and Italy. Technically
speaking, he sang live opera, as a vocation, longer and more often
than Mario did. However as you pointed out, and this is very true I
believe, Mario remained, in his vocal style, a truly classical artist
whereas Sergio made the adaptation.
When Franchi was originally signed by RCA Victor they had him as a Red
Seal artist. It was only after his first few albums that he switched
to the more stylistically popular Gold Seal. It's rather interesting
to speculate as to exactly what prompted him to make the change. I
remember reading on one of his album's liner notes that he made the
decision so he could reach a broader audience and have a more intimate
relationship with them.
I agree with some of your observations Derek about Sergio's voice.
There was a huskiness to it at times and while the high Cs that he did
commit to record are good, I don't think he had the top or the
relative ease above the staff that Mario possessed virtually
throughout his entire career. One might even argue that Franchi was
more of a "bari-tenor." When you look at the majority of his
recordings, the overall tessitura is lower and on the staff. I would
also say, based on both recordings and to what people who worked with
Sergiio have told me, that Mario had a considerably larger
instrument. Certainly that alone is no reason why Sergio Franchi
could not have performed live opera. As I noted earlier, he did. If
mere vocal size were the standard, opera would not have had artists
like Cesare Valletti, Alfredo Kraus, Luigi Alva Beniamino Gigli, Jussi
Bloerling and, more recently, Jose Carreras. I think, without a
doubt, Mario Lanza had a bigger voice than any of the aforementioned
tenors. That said, it remains that Sergio focused the bulk of his
musical efforts in the popular repertoire and it is there I think that
he truly shines.
Ciao,
Tony
http://www.4shared.com/file/69406916/435e7c10/Sergio_Franchi_-_Passione.html
On Nov 2, 6:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
Tonytenor
Nov 3, 2008, 12:05:57 AM11/3/08
to The Mario Lanza Forum
Derek. As a post script I will also say that the selections you noted
of Mario's "soft pedal" are wonderful and dead on. The discarded "All
the Things You Are" from BYM is, I think, one of the finest recordings
Mario made and one of the best recordings of that wonderful song.
Also, let us not forget "Golden Days" from his first STUDENT PRINCE
recording - perfectly lovely!
T
On Nov 2, 6:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
> a love song:http://www.4shared.com/account/file/38326755/3df7a3ac/All_The_Things_...
of Mario's "soft pedal" are wonderful and dead on. The discarded "All
the Things You Are" from BYM is, I think, one of the finest recordings
Mario made and one of the best recordings of that wonderful song.
Also, let us not forget "Golden Days" from his first STUDENT PRINCE
recording - perfectly lovely!
T
On Nov 2, 6:29 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> On Nov 3, 5:23 am, Sam <s...@bee.net> wrote:
>
> > By the way, get ready for Derek to call you out on your comment that you wished Mario had sung more pianissimo. I will leave it to him!
>
> Sam: I actually agree with Tony that Lanza underused his soft pedal at
> times. But, of course, he proved often enough that he could employ it
> to devastating effect when he wanted to. Think of Voce 'e Notte and
> the 1958 'Na Sera 'e Maggio ("Voglio bene sulo te...") and the 1952-53
> Student Prince. Or the quite unexpected and magical bit of mezza voce
> at the end of the RCA version of The Bayou Lullaby. Then there's the
> discarded MGM version of All the Things You Are, on which Mario's a
> veritable master of vocal dynamics -- going from full voice to mezza
> voce on the same note -- in what is one of his greatest recordings of
Maria Luísa
Nov 3, 2008, 12:30:01 PM11/3/08
to The Mario Lanza Forum
What a pity about the link but is all right Derek, thanks. Of course I
understand very well the differences you make between recordings when
you do - not memorized the exact words of the messages and not going
back to read them the moment I write, I sometimes may not reproduce
its contents/ideas exactly - and saying 'bad' was an exaggeration on
my part, for the several recordings Mario made of Because there could
hardly have been a bad one I think, if as much a less good one, that
may be. As to TGC Because I agree completely, it is more than
magnificent, each time I hear it is as if I was listening to it for
the very first time. Mario's interpretation is unique and beautiful.
His voice, his expressions, his looks, his perfect interiorization (I
have no other word) of the character, all these put together gave
"just the right amount" (paraphrasing him in Serenade), I would rather
say just the exact amount to produce the great big success this song
was.
understand very well the differences you make between recordings when
you do - not memorized the exact words of the messages and not going
back to read them the moment I write, I sometimes may not reproduce
its contents/ideas exactly - and saying 'bad' was an exaggeration on
my part, for the several recordings Mario made of Because there could
hardly have been a bad one I think, if as much a less good one, that
may be. As to TGC Because I agree completely, it is more than
magnificent, each time I hear it is as if I was listening to it for
the very first time. Mario's interpretation is unique and beautiful.
His voice, his expressions, his looks, his perfect interiorization (I
have no other word) of the character, all these put together gave
"just the right amount" (paraphrasing him in Serenade), I would rather
say just the exact amount to produce the great big success this song
was.
Derek McGovern
Nov 3, 2008, 1:50:36 PM11/3/08
to mario...@googlegroups.com
Hi Tony: Many thanks for providing that link to Franchi's version of Passione.
It certainly is different from Lanza's recording! This is actually the best I've heard Franchi (for a start, that gritty quality I sometimes hear in his timbre was absent), and his singing included some nice touches, particularly on "trascino per te". On the downside, I thought he shouted his way through a couple of lines, and on his high A at the end, he sounded as though he was being pushed to the limit of his upper register.
Though comparisons are odious (:-)), what I missed on this recording was Lanza's superior story-telling. There's a growing urgency in Mario's rendition between the first verse and the second, with everything building up to that extraordinary ending. It's a soul-baring performance and we live the story with him. On Franchi's version, however, we get only a single verse, and the refrain, instead of following the verse, begins the song! (The same thing happens on the unfortunate Lanza on Broadway version of Younger Than Springtime.) This is a very disjointed approach, and, to me, it spoils the cohesion of the story. That's not Franchi's fault, of course, but I wish he'd sung the song with a more conventional arrangement, including one without the rather tacky orchestral bombast that also mars it in places.
I'll be very interested in knowing what other devotees of the "Mario!" album (Muriel, Vince, et al) think of this recording!
Maria Luísa
Nov 3, 2008, 1:57:30 PM11/3/08
to The Mario Lanza Forum
First thank you very much Tony for the beautiful precise description
you made on Sergio's singing. Actually I was going to ask you what
about his Opera career which you did not approach on your last post,
that in case he had one, but just reading this one of yours, all is
clarified. Well, most of it, not all, because neither you nor anyone
else seems to know why he turned into popular songs instead of
embracing the operatic world with such a good voice, may be he was
taken to believe by his Recording Company that that kind of music sold
best and perhaps he needed to earn money quickly to support his family
or by some other reason. Being from Mario's generation did they ever
met or did they speak about each other by any chance? But I do agree
totally when you say Mario had a bigger voice, more powerful 'at the
top' I think is what is called, as a matter of fact is my believe that
Mario had the biggest tenor voice (in amplitude and in beauty both in
high notes and lower notes) up until today, even bigger and richer
than Caruso's of which he was so very fond of and in a way, as some
said at the time, he emulated it seems. Personally I think he did not.
I think Mario had a very beautiful unique tone of of voice, very rich
and strong - three rare qualities most hard to find all in one singer,
the kind of specific ones Mario had - with special astonishing
characteristics that he intuitively and very intelligently too knew
how to develop with intensity, intelligence and effort the utmost. The
result of his total devotion to his art is the wonder it became and
the marvel that was left for us all to appreciate and delight. Thanks
Tony.
you made on Sergio's singing. Actually I was going to ask you what
about his Opera career which you did not approach on your last post,
that in case he had one, but just reading this one of yours, all is
clarified. Well, most of it, not all, because neither you nor anyone
else seems to know why he turned into popular songs instead of
embracing the operatic world with such a good voice, may be he was
taken to believe by his Recording Company that that kind of music sold
best and perhaps he needed to earn money quickly to support his family
or by some other reason. Being from Mario's generation did they ever
met or did they speak about each other by any chance? But I do agree
totally when you say Mario had a bigger voice, more powerful 'at the
top' I think is what is called, as a matter of fact is my believe that
Mario had the biggest tenor voice (in amplitude and in beauty both in
high notes and lower notes) up until today, even bigger and richer
than Caruso's of which he was so very fond of and in a way, as some
said at the time, he emulated it seems. Personally I think he did not.
I think Mario had a very beautiful unique tone of of voice, very rich
and strong - three rare qualities most hard to find all in one singer,
the kind of specific ones Mario had - with special astonishing
characteristics that he intuitively and very intelligently too knew
how to develop with intensity, intelligence and effort the utmost. The
result of his total devotion to his art is the wonder it became and
the marvel that was left for us all to appreciate and delight. Thanks
Tony.
Vince Di Placido
Nov 3, 2008, 3:02:01 PM11/3/08
to The Mario Lanza Forum
I like some of Sergio's recordings, I hadn't really heard of him until
a few years ago when Fred Day's many posts mentioning Sergio made me
order a couple of cds.
But this recording only makes me admire Mario's version even more (if
that was possible...) It is fine enough, in & of itself, but yes,
Derek the arrangement isn't the best & actually I find it slightly
annoying. The recording lacks the poetry & class of Mario's
performance. Everything is just right on the "Mario!" recording, one
of Mario's true masterpieces.
> >http://www.4shared.com/file/69406916/435e7c10/Sergio_Franchi_-_Passio...
a few years ago when Fred Day's many posts mentioning Sergio made me
order a couple of cds.
But this recording only makes me admire Mario's version even more (if
that was possible...) It is fine enough, in & of itself, but yes,
Derek the arrangement isn't the best & actually I find it slightly
annoying. The recording lacks the poetry & class of Mario's
performance. Everything is just right on the "Mario!" recording, one
of Mario's true masterpieces.
Armando
Nov 3, 2008, 4:34:13 PM11/3/08
to The Mario Lanza Forum
Sergio Franchi’s Passione is one of the worst performances of this
song that I have ever heard! It’s stylistically dreadful and way over
the top, almost hysterical, in it’s delivery. The arrangement is
abominable.
Message has been deleted
Jan Hodges
Nov 3, 2008, 5:08:37 PM11/3/08
to mario...@googlegroups.com
|
I agree with you Derek. I haven't heard much of Sergio Franchi but on this particular recording I thought he had a nice voice and I enjoyed the singing until near the end . I thought ,interpretation wise ,it was a bit "over the top" . Unfortunately for any singer who records this number I always have Mario's glorious final note ringing in my ears.
Jan | |||
|
|
Message has been deleted
Tonytenor
Nov 3, 2008, 7:34:37 PM11/3/08
to The Mario Lanza Forum
Hello Maria Luisa, Derek and all:
Derek, I could not agree more with your artistic assessment of Mario's
"Passione" vs Sergio's. As for vocal techique; I don't think Sergio
was at the very top of his range when he took thee high A ending. He
did though, IMO, spread once he securely had the note. Again, I do
not know why he did this - a perfect example of it is the B-flat at
the end of "Core 'n grato" from the Ed Sullivan Show DVD. You can
watch him take the note, in what I could only describe as the
traditional "covered" or formently focused way and once the note is
securely there, he spreads. You can see him open his mouth wider and
lift and consequently the sound becomes somewhat white as broad - with
out the bullseye focus Mario used so well. I would venture to guess
that if one were to be able to stand in front of SF when he sings a
high B-flat you would initially hear and feel the sound, as it is
focused and the physical sensation one would feel would not be so much
the actual sound but the overtones (I'm guessing at between 2500 - 500
hz). Once he opens and spreads the tone changes from the ppowwer and
precision of say a high powered rifle to a shotgun - the shotgun
spraying shot all over but without the acoustical force of the focused
tone. Mario, on the other had would have you "feeling" the note all
the way through because he never left that focused target, the
singer's forment.
As for you comment Derek about Mario telling the story, again you are
right on the money. Sergio's is an exciting recording to listen to,
but Mario's is three demensional. I have always felt that his MARIO!
and CARUSO FAVORITES recordings were being sung by a man who had lived
life - yes, even in the short span of 38 years. These recordings, all
of them, IMO, present Mario the seasoned and somewhat introspective
artist. It's the ball of fire youth we hear in the Coke Show
recordings, or in commercial recordings made during that earlier
period in his career. What you pointed out about the emotional depth
Mario's performance in "Passione" is exactly why I much prefer the
FTFT "Vesti la giubba" over any of his earlier efforts. When you
listen to him in 1959, your hearing not just one of the most
magnificent tenor voices of all time, but you are hearing (and
feeling) the anguish that Canio is experiencing.
Goodness, so very much to comment on and enthuse about. Isn't it
wonderful?
Maria Luisa, I am not really sure why Sergio chose the artistic path
he did. While the opera may have missed out on a fine and lovely
tenor voice is perhaps a give. But indeed how rich we are that Sergio
sang and recorded what he did. The Cocoanut Grove album remains, to
this day, one of my favorite recordings of all time.
All the best,
Tony
Derek, I could not agree more with your artistic assessment of Mario's
"Passione" vs Sergio's. As for vocal techique; I don't think Sergio
was at the very top of his range when he took thee high A ending. He
did though, IMO, spread once he securely had the note. Again, I do
not know why he did this - a perfect example of it is the B-flat at
the end of "Core 'n grato" from the Ed Sullivan Show DVD. You can
watch him take the note, in what I could only describe as the
traditional "covered" or formently focused way and once the note is
securely there, he spreads. You can see him open his mouth wider and
lift and consequently the sound becomes somewhat white as broad - with
out the bullseye focus Mario used so well. I would venture to guess
that if one were to be able to stand in front of SF when he sings a
high B-flat you would initially hear and feel the sound, as it is
focused and the physical sensation one would feel would not be so much
the actual sound but the overtones (I'm guessing at between 2500 - 500
hz). Once he opens and spreads the tone changes from the ppowwer and
precision of say a high powered rifle to a shotgun - the shotgun
spraying shot all over but without the acoustical force of the focused
tone. Mario, on the other had would have you "feeling" the note all
the way through because he never left that focused target, the
singer's forment.
As for you comment Derek about Mario telling the story, again you are
right on the money. Sergio's is an exciting recording to listen to,
but Mario's is three demensional. I have always felt that his MARIO!
and CARUSO FAVORITES recordings were being sung by a man who had lived
life - yes, even in the short span of 38 years. These recordings, all
of them, IMO, present Mario the seasoned and somewhat introspective
artist. It's the ball of fire youth we hear in the Coke Show
recordings, or in commercial recordings made during that earlier
period in his career. What you pointed out about the emotional depth
Mario's performance in "Passione" is exactly why I much prefer the
FTFT "Vesti la giubba" over any of his earlier efforts. When you
listen to him in 1959, your hearing not just one of the most
magnificent tenor voices of all time, but you are hearing (and
feeling) the anguish that Canio is experiencing.
Goodness, so very much to comment on and enthuse about. Isn't it
wonderful?
Maria Luisa, I am not really sure why Sergio chose the artistic path
he did. While the opera may have missed out on a fine and lovely
tenor voice is perhaps a give. But indeed how rich we are that Sergio
sang and recorded what he did. The Cocoanut Grove album remains, to
this day, one of my favorite recordings of all time.
All the best,
Tony
Maria Luísa
Nov 4, 2008, 8:20:47 AM11/4/08
to The Mario Lanza Forum
Armando you are a terrible critic (just kidding). But perhaps you are
right in this case. I could not hear but a few seconds of Sergio's
Passione due to some System problem, tried several times with no
result, but unfortunately those few seconds seemed to me very bad in
fact, arrangement and voice wise, I'm afraid to say. Pity though for
as I said before, to me his voice is very beautiful. There must have
been some kind of accident in that precise recording.
right in this case. I could not hear but a few seconds of Sergio's
Passione due to some System problem, tried several times with no
result, but unfortunately those few seconds seemed to me very bad in
fact, arrangement and voice wise, I'm afraid to say. Pity though for
as I said before, to me his voice is very beautiful. There must have
been some kind of accident in that precise recording.
Maria Luísa
Nov 4, 2008, 8:54:04 AM11/4/08
to The Mario Lanza Forum
Lovely exposition on Sergio's and Mario's way of singing, Tony. I
heard him yesterday on youtube in a selection of songs he did on a
Sullivan Show and liked very much. Thanks also Tony for the
information on his career. Far from having the exceptional beauty of
Mario's voice (no one had) Sergio did have some kind of ring that here
and there reminded me a bit Mario's kind of voice. I don't know, may
be because he was also Italian and besides of having an excellent
voice also had that special quality in his way of singing that almost
all Italian singers and tenors had.
heard him yesterday on youtube in a selection of songs he did on a
Sullivan Show and liked very much. Thanks also Tony for the
information on his career. Far from having the exceptional beauty of
Mario's voice (no one had) Sergio did have some kind of ring that here
and there reminded me a bit Mario's kind of voice. I don't know, may
be because he was also Italian and besides of having an excellent
voice also had that special quality in his way of singing that almost
all Italian singers and tenors had.
Message has been deleted
Tonytenor
Nov 7, 2008, 1:27:00 PM11/7/08
to The Mario Lanza Forum
Hi Sam,
Great posting! I'm so glad you enjoyed the Franchi DVD. I thought he
was also quite good as the straight man for Stiller and Meara. I
agree with you about Sergio's messa di voce. I have always marveled
at it and being a singer, I can testify as to how difficult it really
is. Corelli could do it (most of the time) and the young DiStefano
had a messa di voce early on but sacrificed it when he took on the
heavier repertoire. By the way, IMO DiStefano is a good example of a
singer not "covering" when moving through the passagio. I think it
cost him in the end. Mario Lanza that ability as well, and as Derek
has pointed out: "To devastating effect." One can even go back and
listen to the Celanese recordings and Mario's performance of "Ah,Moon
Of My Delight" has some really beautiful controled messa di voce
singing. Listen too to the end of the RAH performance of "The House
On The Hill." Mario sings..."In my house on the top of a hill... In
my house..." The way he controls that first line. Listen to the way
he diminuendos the work "hill." I have always been thrilled and
amazed at the tonal and dynamic range Mario had. His two "ballads"
from TMK are ideal examples of Mario's "soft pedal" (as Derek put
it). There are many, many examples of Mario's messa di voce and it is
interesting to note that he seems to have retained that vocal
flexibility even after his voice darkened. My hunch, and it is just a
hunch , that too often Mario was encouraged to take the "Louder and
Longer" route on pieces that really called for muh gentler approach.
Perhaps Armando and Derek could speak to this far better than I.
As for Sergio. Well, I confess I enjoy him greatly and in response
(not defense mind you) to Armando's opinion that Sergio's recording of
"Passione" is terrible, I would just offer this as a possibility. The
time period of the recording was the early to mid-sixties. There were
all kinds of wacky arrangers and wacky arrangements being done then
and and I wonder if someone had the, not so brilliant idea to
"modernize" a classic like "Passione." Just food for thought.
Ciao,
Tony
On Nov 6, 10:17 pm, Sam <s...@bee.net> wrote:
> Tony: My wife and I were absolutely mesmerized tonight as we screened
> the new Franchi DVD. It is just fabulous and thrilling to behold.
> Although I still maintain that he did not need to splay open his high
> notes instead of using cover (perhaps this was to make the performance
> sound more like pop than opera), I have found a new respect for the
> man and his talent. It is possible that he had even better voice
> control than Mario (listen to the way he takes a loud note down to a
> whisper seamlessly). I find his baritonal low range quite inviting,
> too. Ed Sullivan had good taste in singers (remember he interviewed
> Mario once!) and it is clear how much he loved Sergio. I only hope
> they will release more of these priceless performances. Let's see, he
> appeared on the show 24 times and they only released 14 of them! True,
> he didn't have the great voice Mario had---but he had great talent in
> what he did. I also find his lack of a thick accent a big plus when he
> sings pop. Perhaps in these times when great singers are scarce,
> people should listen to SF again for their kicks!!
Great posting! I'm so glad you enjoyed the Franchi DVD. I thought he
was also quite good as the straight man for Stiller and Meara. I
agree with you about Sergio's messa di voce. I have always marveled
at it and being a singer, I can testify as to how difficult it really
is. Corelli could do it (most of the time) and the young DiStefano
had a messa di voce early on but sacrificed it when he took on the
heavier repertoire. By the way, IMO DiStefano is a good example of a
singer not "covering" when moving through the passagio. I think it
cost him in the end. Mario Lanza that ability as well, and as Derek
has pointed out: "To devastating effect." One can even go back and
listen to the Celanese recordings and Mario's performance of "Ah,Moon
Of My Delight" has some really beautiful controled messa di voce
singing. Listen too to the end of the RAH performance of "The House
On The Hill." Mario sings..."In my house on the top of a hill... In
my house..." The way he controls that first line. Listen to the way
he diminuendos the work "hill." I have always been thrilled and
amazed at the tonal and dynamic range Mario had. His two "ballads"
from TMK are ideal examples of Mario's "soft pedal" (as Derek put
it). There are many, many examples of Mario's messa di voce and it is
interesting to note that he seems to have retained that vocal
flexibility even after his voice darkened. My hunch, and it is just a
hunch , that too often Mario was encouraged to take the "Louder and
Longer" route on pieces that really called for muh gentler approach.
Perhaps Armando and Derek could speak to this far better than I.
As for Sergio. Well, I confess I enjoy him greatly and in response
(not defense mind you) to Armando's opinion that Sergio's recording of
"Passione" is terrible, I would just offer this as a possibility. The
time period of the recording was the early to mid-sixties. There were
all kinds of wacky arrangers and wacky arrangements being done then
and and I wonder if someone had the, not so brilliant idea to
"modernize" a classic like "Passione." Just food for thought.
Ciao,
Tony
On Nov 6, 10:17 pm, Sam <s...@bee.net> wrote:
> Tony: My wife and I were absolutely mesmerized tonight as we screened
> the new Franchi DVD. It is just fabulous and thrilling to behold.
> Although I still maintain that he did not need to splay open his high
> notes instead of using cover (perhaps this was to make the performance
> sound more like pop than opera), I have found a new respect for the
> man and his talent. It is possible that he had even better voice
> control than Mario (listen to the way he takes a loud note down to a
> whisper seamlessly). I find his baritonal low range quite inviting,
> too. Ed Sullivan had good taste in singers (remember he interviewed
> Mario once!) and it is clear how much he loved Sergio. I only hope
> they will release more of these priceless performances. Let's see, he
> appeared on the show 24 times and they only released 14 of them! True,
> he didn't have the great voice Mario had---but he had great talent in
> what he did. I also find his lack of a thick accent a big plus when he
> sings pop. Perhaps in these times when great singers are scarce,
> people should listen to SF again for their kicks!!
> > > > something extraordinary!- Hide quoted text -
>
> > - Show quoted text -- Hide quoted text -
>
Derek McGovern
Nov 7, 2008, 2:22:45 PM11/7/08
to mario...@googlegroups.com
Interesting post, Tony.
Franchi's Passione certainly features a "wacky" arrangement; in fact, my initial reaction to it was much the same as Armando's. But it's not just the arrangement that's the problem for me on this and other Neapolitan songs that Franchi sings; it's his lack of any real affinity for the idiom. He never truly *inhabits* these songs, and, stylistically, he sings them more in the manner of a nightclub entertainer than a Neapolitan son of toil. Take his Fenesta Che Lucive, for instance, on which he's more interested in showing off with a completely inappropriate high note at the end of the song than in imparting the meaning of the text. I never get any sense that he's living the story on these songs -- and consequently his renditions never move me.
Franchi certainly had a decent voice, though, and I've enjoyed listening to quite a few of the English-language songs that he performed. These don't include his much-praised Ol' Man River, however; here, he's saddled yet again with a terrible arrangement -- and also a ridiculous "galloping" tempo -- and apart from an exciting ending, his singing of this classic is, frankly, pretty sloppy. But on many of the other English songs I've heard him do, he's much more at home stylistically (ironic, really, given that he was Italian!), and I can understand why he was such a romantic favourite with audiences.
Changing the subject, I certainly agree with you, Tony, that Mario retained his vocal flexibility even as his voice darkened. His Voce 'e Notte and 'Na Sera 'e Maggio -- recorded barely 10 months before his death -- are wonderful examples of vocal control.
Message has been deleted
Thelma
Nov 7, 2008, 6:51:39 PM11/7/08
to The Mario Lanza Forum
I don't like Sergio's rendition or the arrangement of Ole Man river
either. This song is about black slaves in America slaving away at
manual labor with no hope (at that time) for a better life ever, and
they don't see any hope or end to all this toil, no hope for a better
life, and the Mississippi River docks is the scene where this is
taking place in this song. A poetic analogy to the Mississippi flowing
along with no end in sight is made by the slaves' words in this song,
called a simile. It calls for a smooth flowing rhythm in the
arrangement, not galloping along alike a horse! The most ridiculous
rendition of this song was sung at the end of the 1947 movie musical
"Till the Clouds Roll By" by Frank Sinatra.. This movie detailed the
life of Jerome Kern. They had Frank standing on a platform that was
moving along on the Mississippi, and he was required to wear a white
suit!. His singing wasn't bad, but he really wasn't the singer to be
chosen to sing this song and so much criticism was leveled at him and
at the powers behind the decision to use him for this song. In other
movies, William Warfield, a very good black singer of the time was
chosen, and he was very good. This is really one of those songs of
musical theater which is critical to the story being told. The song
was written by Oscar Hammerstein and Jerome Kern for "Showboat", the
first musical in 1927, and based on Edna Ferber's book, "Showboat."
Another singer, Lena Horne, was given a solo spot in this movie which
at that time they rarely gave to a Black woman. She sang "Stormy
Weather," She got rave reviews. I saw the movie several times. It's
on Video now.
> ...
>
> read more »- Hide quoted text -
either. This song is about black slaves in America slaving away at
manual labor with no hope (at that time) for a better life ever, and
they don't see any hope or end to all this toil, no hope for a better
life, and the Mississippi River docks is the scene where this is
taking place in this song. A poetic analogy to the Mississippi flowing
along with no end in sight is made by the slaves' words in this song,
called a simile. It calls for a smooth flowing rhythm in the
arrangement, not galloping along alike a horse! The most ridiculous
rendition of this song was sung at the end of the 1947 movie musical
"Till the Clouds Roll By" by Frank Sinatra.. This movie detailed the
life of Jerome Kern. They had Frank standing on a platform that was
moving along on the Mississippi, and he was required to wear a white
suit!. His singing wasn't bad, but he really wasn't the singer to be
chosen to sing this song and so much criticism was leveled at him and
at the powers behind the decision to use him for this song. In other
movies, William Warfield, a very good black singer of the time was
chosen, and he was very good. This is really one of those songs of
musical theater which is critical to the story being told. The song
was written by Oscar Hammerstein and Jerome Kern for "Showboat", the
first musical in 1927, and based on Edna Ferber's book, "Showboat."
Another singer, Lena Horne, was given a solo spot in this movie which
at that time they rarely gave to a Black woman. She sang "Stormy
Weather," She got rave reviews. I saw the movie several times. It's
on Video now.
>
> read more »- Hide quoted text -
Thelma
Nov 7, 2008, 10:52:29 PM11/7/08
to The Mario Lanza Forum
I was looking around on the web for renditions of this song, Old Man
River. Howard Keel did a pretty good rendition and Bryan Terfel did,
but the best still seems to be William Warfield (1951 Showboat movie)
and Paul Robeson. Bing Crosby, I was surprised to hear, did a bouncy
rendition like Sergio, not good by Bing either.
River. Howard Keel did a pretty good rendition and Bryan Terfel did,
but the best still seems to be William Warfield (1951 Showboat movie)
and Paul Robeson. Bing Crosby, I was surprised to hear, did a bouncy
rendition like Sergio, not good by Bing either.
Derek McGovern
Nov 8, 2008, 1:01:35 AM11/8/08
to The Mario Lanza Forum
William Warfield (1920-2002) was wonderful as Joe in Show Boat, both
in the 1951 film and on the 1966 Lincoln Center revival album. Here's
his magnificent 1951 version of Ol' Man River:
http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html
in the 1951 film and on the 1966 Lincoln Center revival album. Here's
his magnificent 1951 version of Ol' Man River:
http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html
Vince Di Placido
Nov 8, 2008, 8:05:58 AM11/8/08
to The Mario Lanza Forum
Yes! William Warfield is great on Ol' Man River. I always enjoyed
Sinatra's attempts at this mini epic of a song, he obviously adored
the piece & as we have said before overcame his vocal limitations by
phrasing beautifully & his breathing showpiece from the word "Jail"
on "You get a little drunk & you lands in jail" through to "I gets
weary" is an impressive touch.
Sinatra's attempts at this mini epic of a song, he obviously adored
the piece & as we have said before overcame his vocal limitations by
phrasing beautifully & his breathing showpiece from the word "Jail"
on "You get a little drunk & you lands in jail" through to "I gets
weary" is an impressive touch.
Vince Di Placido
Nov 8, 2008, 8:20:04 AM11/8/08
to The Mario Lanza Forum
Here is a link to the audio from a 1967 tv performance of Frank
Sinatra singing "Ol' Man River":
http://www.4shared.com/file/70264658/61f44855/frank_sinatra_-_ol_man_river_-_1967_tv.html
& here is Sinatra's 1963 studio recording:
http://www.4shared.com/file/70264956/8d10226f/frank_sinatra_-_ol_man_river.html
On Nov 8, 1:05 pm, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
> >http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html- Hide quoted text -
Sinatra singing "Ol' Man River":
http://www.4shared.com/file/70264658/61f44855/frank_sinatra_-_ol_man_river_-_1967_tv.html
& here is Sinatra's 1963 studio recording:
http://www.4shared.com/file/70264956/8d10226f/frank_sinatra_-_ol_man_river.html
On Nov 8, 1:05 pm, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
Message has been deleted
Thelma
Nov 8, 2008, 12:19:09 PM11/8/08
to The Mario Lanza Forum
On You Tube, I see that Sinatra was not floating down the river on a
platform (that was Elvis in "Blue Hawaii"). Many of you young people
may not understand why there was so much flax about having Sinatra
sing a black man's song in 1947. First, because we had not come as
far with the issues of predudice in 1947. Second, because it seemed
crucial to the story of "Showboat", especially in a visual medium that
a black man ( representing a slave) sing the song, because it should
be a black man telling his story of woe and toil along the
Mississippi. It has now become a classic American song and it is not
unusual for women or any race or any man to sing it. I like Warfield's
rendition the best of all.
On Nov 8, 11:52 am, Thelma <TFPri...@gmail.com> wrote:
> I don't know why, but I could not get the 1963 Sinatra to download,
> but the 1967 Sinatra was superb on this song. When I described
> Sinatra Ole Man River of the 1947 movie I made a mistake. He was not
> on a platform singing, floating down the river. He was singing with an orchestra, but with a
> white suit on, and the fact of a white man with a white suit on in
> 1947 singing this song didn't go over well for obvious reasons. The
> 1947 rendition by Sinatra is on You Tube. This 1967 rendition of
> Sinatra showed definitely his superb diction, phrasing and acting
> ability.
>
> On Nov 8, 8:20 am, Vince Di Placido <vincent.diplac...@gmail.com>
> wrote:
>
>
>
> > Here is a link to the audio from a 1967 tv performance of Frank
> > Sinatra singing "Ol' Man River":
>
> >http://www.4shared.com/file/70264658/61f44855/frank_sinatra_-_ol_man_...
>
>
>
> > Here is a link to the audio from a 1967 tv performance of Frank
> > Sinatra singing "Ol' Man River":
>
>
> > & here is Sinatra's 1963 studio recording:
>
> >http://www.4shared.com/file/70264956/8d10226f/frank_sinatra_-_ol_man_...
> > & here is Sinatra's 1963 studio recording:
>
>
> > On Nov 8, 1:05 pm, Vince Di Placido <vincent.diplac...@gmail.com>
> > wrote:
>
> > > Yes! William Warfield is great on Ol' Man River. I always enjoyed
> > > Sinatra's attempts at this mini epic of a song, he obviously adored
> > > the piece & as we have said before overcame his vocal limitations by
> > > phrasing beautifully & his breathing showpiece from the word "Jail"
> > > on "You get a little drunk & you lands in jail" through to "I gets
> > > weary" is an impressive touch.
>
> > > On Nov 8, 6:01 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > William Warfield (1920-2002) was wonderful as Joe in Show Boat, both
> > > > in the 1951 film and on the 1966 Lincoln Center revival album. Here's
> > > > his magnificent 1951 version of Ol' Man River:
>
> > > >http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html-Hidequoted text -
> > On Nov 8, 1:05 pm, Vince Di Placido <vincent.diplac...@gmail.com>
> > wrote:
>
> > > Yes! William Warfield is great on Ol' Man River. I always enjoyed
> > > Sinatra's attempts at this mini epic of a song, he obviously adored
> > > the piece & as we have said before overcame his vocal limitations by
> > > phrasing beautifully & his breathing showpiece from the word "Jail"
> > > on "You get a little drunk & you lands in jail" through to "I gets
> > > weary" is an impressive touch.
>
> > > On Nov 8, 6:01 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > William Warfield (1920-2002) was wonderful as Joe in Show Boat, both
> > > > in the 1951 film and on the 1966 Lincoln Center revival album. Here's
> > > > his magnificent 1951 version of Ol' Man River:
>
>
> > > - Show quoted text -- Hide quoted text -
>
> > - Show quoted text -- Hide quoted text -
Message has been deleted
Lou
Nov 11, 2008, 8:51:42 PM11/11/08
to The Mario Lanza Forum
I believe Sinatra had earned the right to sing a “white man’s version”
of Ol’ Man River by dint of his tireless crusade, starting from the
1940s, against racism and segregation. Besides, having grown up among
dock workers at the Hoboken, New Jersey waterfront as the son of
impoverished immigrants, he was no stranger to desperate lives of “woe
and toil.” I think it was this background, coupled with his feeling
for blacks and other minorities, that gives the ring of honesty to
Sinatra’s storytelling. Incidentally, Nancy Sinatra has called
Frank’s 1940s version of Ol’ Man River her favorite recording of her
father’s voice.
> > > > >http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html-Hideq...text -
of Ol’ Man River by dint of his tireless crusade, starting from the
1940s, against racism and segregation. Besides, having grown up among
dock workers at the Hoboken, New Jersey waterfront as the son of
impoverished immigrants, he was no stranger to desperate lives of “woe
and toil.” I think it was this background, coupled with his feeling
for blacks and other minorities, that gives the ring of honesty to
Sinatra’s storytelling. Incidentally, Nancy Sinatra has called
Frank’s 1940s version of Ol’ Man River her favorite recording of her
father’s voice.
Thelma
Nov 11, 2008, 10:31:36 PM11/11/08
to The Mario Lanza Forum
Yes, I agree Frank Sinatra earned the right to sing any song he wanted
to. He did know how to sing a story and interpret it. My only
concern about Ole Man River is when it is in the musical "Showboat" it
should be sung by a Black man because the story depicts Blacks working
on the docks unloading cotton. As an American classical standard
song, anyone may sing it, any non-Americans also.
> > > > > >http://www.4shared.com/file/70229336/d1377e22/Ol_Man_River.html-Hideq...-
to. He did know how to sing a story and interpret it. My only
concern about Ole Man River is when it is in the musical "Showboat" it
should be sung by a Black man because the story depicts Blacks working
on the docks unloading cotton. As an American classical standard
song, anyone may sing it, any non-Americans also.
Message has been deleted
Lou
Nov 12, 2008, 12:03:34 AM11/12/08
to The Mario Lanza Forum
It was in fact Frank's singing of Ol' Man River that attracted Louis
B. Mayer to him and brought him to MGM. That's according to daughter
Nancy. And speaking of non-Americans who sing a mean Ol' Man River,
there's the famous German bass-baritone, Thomas Quasthoff, whose
favorite encore piece it is (at least when he performs in the U.S.).
Mr. Quasthoff should know all about sorrow, despair, and hope, given
the circumstances of his life. Here's a link to one of his renditions:
http://www.youtube.com/watch?v=HbcBr-ZdnnI
On Nov 11, 7:49 pm, Sam <s...@bee.net> wrote:
> And they ended the movie with Frank's song because not only was HE a
> highlight at the time with his burgeoning career, but also his
> performance was considered a highlight.
B. Mayer to him and brought him to MGM. That's according to daughter
Nancy. And speaking of non-Americans who sing a mean Ol' Man River,
there's the famous German bass-baritone, Thomas Quasthoff, whose
favorite encore piece it is (at least when he performs in the U.S.).
Mr. Quasthoff should know all about sorrow, despair, and hope, given
the circumstances of his life. Here's a link to one of his renditions:
http://www.youtube.com/watch?v=HbcBr-ZdnnI
On Nov 11, 7:49 pm, Sam <s...@bee.net> wrote:
> And they ended the movie with Frank's song because not only was HE a
> highlight at the time with his burgeoning career, but also his
> performance was considered a highlight.
Thelma
Dec 12, 2008, 3:49:53 PM12/12/08
to The Mario Lanza Forum
Tony, thank you for the link to some of Sergio's recordings. I
enjoyed what you sent me. Yes, I have been his fan since 1972 when I
saw him in concert at the Flamingo Hotel in Las Vegas. I read your
web page about your father and family and enjoyed it very much. I
also remember you from the Rense forum where you posted some. I see
you are in the medical field now. I was a registered nurse for about
38 years and enjoyed my career very much. I spent about 16 years of
it taking care of intensive care nursery babies, very fulfilling work.
On Nov 2, 10:36 am, Tonytenor <tonyparting...@gmail.com> wrote:
> To All:
>
> Gosh, what great posts about Sergio! Maria Luisa, as Sam notes in his
> post, Sergio died on May 1, 1990 of brain cancer. He was ill for some
> time as I understand it. Although I can tell you, being in healthcare
> as is my wife (in fact she used to be a RN case manager in
> neurosurgery) that cancer of the brain tissue is a condition which can
> be lived with for some time and it can also be quite quick, depending
> upon the particular type of carcenoma. I do not know anything
> specific about Sergio's case but from what I heard and read, he was
> ill for an appreciably long time. Back in 1990 I was, in addition to
> singing professionally, producing a one-hour program on classical vice
> for NPR called "Singer's Spotlight."
>
> in 1991 I had the opportunity to interview the pop tenor Enzo Stuarti
> for a program on his life. We met in Florida where he was on tour and
> I watched his show twice. He was a very pleasant man and wwe spent
> well over two hours talking about his and music in general. He told
> me that Sergio had been a good friend and that his death was a great
> loss to him. As for Enzo Stuarti as a singer, I don't think there is
> any comparison to be made between him and Sergio much less him and
> Mario Lanza. He claimed, when I intereviewed him, that ML was a major
> influence in his career and that, "My voice was so much like his that
> people often got them confused." Well, when he said that I simply
> held my tounge but there is no way, on God's green earth - IMO, that
> anyone with half an ear could ever mistake Enzo Stuarti for ML or
> Sergio Franchi. But I digress.
>
> Sergio's voice, IMO was a unique one. Baritonal in quality at the
> bottom (he had a good one) and up through the middle voice. As for
> his top, the Ed Sullivan DVD is wonderfully revealling. I think it
> was a fairly easy top and his use of pianissimo was quite lovely
> (something I wish Mario had employed more often). I not speaking of
> falsetto now but rather head voice or "mixed voice." When you watch
> Sergio on this DVD you can see his "technique" in full display. He
> very often spreads at the top rather than keeping the tone covered.
> This of course is an artistic choice. My hunch is that Sergio somehow
> believed that by spreading the tone, and he does it after he arrives
> on the note in the usual covered fashion, he was sounding perhaps less
> "operatic' and more "pop." This is merely a hypothesis as I do not
> know for certain. But, watching him sing (and he sings a range of
> repertoire, "Core 'n grato" to a dico-like "Granada) is indeed
> revealing. One last thought. One Sergio's LIVE AT THE COCOANUT GROVE
> CD - still available by the way, Neil Warner his music director plays
> a beautiful and unusual accompaniment of Debussey's "Clair de Lune" as
> Sergio sings Cole Porter's "In the Still of the Night." A most
> inventive and lovely bit of musical joining.
>
> Ciao,
>
> Tony
>
> Here's a link to Enzo Stuarti ( a selectio from his debut album for
> Jubilee)http://www.4shared.com/account/file/47800789/480e1445/Enzo_Stuarti_-_...
>
> Think he sounds anything like Sergio or our boy???
>
> On Nov 1, 4:54 pm, Thelma <TFPri...@gmail.com> wrote:
>
>
>
> > thank you for your notes about Sergio. Yes, I certainly am a fan of
> > his.I hear about these high notes which Sergio did not sing very much
> > from several people on the forums. But I don't feel that way. When
> > I heard him perform in 1972 for two hours in Las Vegas at the Flamenco
> > Hotel, I couldn't t believe what a BIG voice I heard. I believe I
> > must be a person who does not dissect the song itself too much when a
> > singer sings. I manage to get the meaning though! In person, I watch
> > the person's face and hear with my ears and Sergio thrilled me! It
> > wasn't just his handsome looks, it was his whole persona. Now when I
> > play his CD's I imagine him the way I saw him in the live show. This
> > show was full of energy with other singers and dancers joining in and
> > everybody was in a costume, although he had some solos. He sang
> > Stella by Starlight by himself and several others which ones I don't
> > remember Also he sang in the Still of the Night.. Yes, his voice was
> > a beautiful one, vibrant, thrilling and you just wanted more of it.
>
> > On Nov 1, 1:54 pm, Sam <s...@bee.net> wrote:
>
> > > Tony, Derek, Thelma, Maria Luisa: My take on Sergio is that he should
> > > be given a lot more credit today and be compared to the existing
> > > tenors that can sing pop as well as opera. He would stand tall among
> > > them for sheer talent and voice quality. His fine dark timbre and
> > > bright top makes for a thrilling combination. He had a commanding
> > > stature as well. My problem with Sergio was and is that I always
> > > wanted MORE from him. That wide open sound near his top wasn't as
> > > exciting as a more covered tone would be and, most importantly for a
> > > tenor, I always felt he held back on the high notes. His performances
> > > were the exact opposite of Mario's Coke Shows. Whenever there was an
> > > opportunity for a high B or C, Sergio would end with a lower note.
> > > Fred Day has gone so far as to document exactly how many high C's
> > > Franchi put on record. Four of them...that is all. He has one amazing
> > > high C (probably his best single note ever) at the end of "Diane". It
> > > is truly exciting. PS. My friend Ron and I heard Sergio live in
> > > Philadelphia on the old Mike Douglas Show and I am sorry to tell you
> > > that many of his older female fans were thirsting for him to sing a
> > > few notes to them during the commercial breaks and he flatly refused.
> > > Again, he was sparing his voice. Alas, he died too young at age 64
> > > from cancer of the brain.
>
> > > On Nov 1, 10:44 am, Maria Luísa <Maria.c...@gmail.com> wrote:
>
> > > > I went to hear this singer after reading your message. I had heard his
> > > > voice only once sometime ago on Youtube in a regular recording due to
> > > > something I had read about his widow, because of that I did not pay
> > > > him much attention then to his voice to be honest. Today was different
> > > > and I must say I was greatly surprised after watching seven videos. A
> > > > very beautiful tone of voice full of power and very clear. Wonderful
> > > > diction. I agree, if he did not get into Opera world, I mean if he was
> > > > not invited to, then that was a big shame because he positively would
> > > > have become a great tenor I think. He died young so I read, what was
> > > > the cause? Car accident? Heart-atack? Thanks Tonytenor for bringing
> > > > Sergio Franchi into our knowledge, at least into mine.
>
> > > > On Oct 31, 10:37 pm, Tonytenor <tonyparting...@gmail.com> wrote:
>
> > > > > Hello all! I'm not sure if anyone in the forum shares my affection
> > > > > for the late Italian-American tenor Sergio Franchi but if you do, you
> > > > > may want to check out this relatively new DVD (and CD) from SOFA
> > > > > Entertainment. It is a collection of some of Sergio's guest
> > > > > appearances on the Ed Sullivan Show. It is quite good, as is the CD
> > > > > of the same performances. I have long wanted to SEE Sergio perform. I
> > > > > was fortunate enough to see him live in 1986 at the New Jersey State
> > > > > Fair - he was wonderul but we were a good enough distance from the
> > > > > stage and I could not really see his vocal technique. I must be
> > > > > honest and say that he gets my vote for perhaps being the most vocally
> > > > > romantic crossover tenor of all time. He knew how to sell a song, how
> > > > > to tell the story and while his forte top was good - I think he spread
> > > > > a bit too much at times, perhaps trying to go for a more "pop" sound -
> > > > > his sotto voce and mixed voice, with a majority of head voice could be
> > > > > breathtaking. For my money, Sergio's version of Victor Young's
> > > > > "Stella By Starlight" is the definitive reading of this beautiful
> > > > > piece. In all events, I shall stop waxing Sergio and simply provide
> > > > > the link to the DVD. As I say, the CD is simply the audio of all the
> > > > > selections on the DVD with the exception of "Take The Moment" from DO
> > > > > I HEAR A WALTZ (which he starred in with Elizabeth Allen on Broadway
> > > > > back in the mid 1960s). Here's the link:http://www.sofaentertainment.com/sergio-franchi-sullivan-show-p-175.html
>
> > > > > Ciao,
>
> > > > > Tony
>
> > > > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...text -
enjoyed what you sent me. Yes, I have been his fan since 1972 when I
saw him in concert at the Flamingo Hotel in Las Vegas. I read your
web page about your father and family and enjoyed it very much. I
also remember you from the Rense forum where you posted some. I see
you are in the medical field now. I was a registered nurse for about
38 years and enjoyed my career very much. I spent about 16 years of
it taking care of intensive care nursery babies, very fulfilling work.
On Nov 2, 10:36 am, Tonytenor <tonyparting...@gmail.com> wrote:
> To All:
>
> Gosh, what great posts about Sergio! Maria Luisa, as Sam notes in his
> post, Sergio died on May 1, 1990 of brain cancer. He was ill for some
> time as I understand it. Although I can tell you, being in healthcare
> as is my wife (in fact she used to be a RN case manager in
> neurosurgery) that cancer of the brain tissue is a condition which can
> be lived with for some time and it can also be quite quick, depending
> upon the particular type of carcenoma. I do not know anything
> specific about Sergio's case but from what I heard and read, he was
> ill for an appreciably long time. Back in 1990 I was, in addition to
> singing professionally, producing a one-hour program on classical vice
> for NPR called "Singer's Spotlight."
>
> in 1991 I had the opportunity to interview the pop tenor Enzo Stuarti
> for a program on his life. We met in Florida where he was on tour and
> I watched his show twice. He was a very pleasant man and wwe spent
> well over two hours talking about his and music in general. He told
> me that Sergio had been a good friend and that his death was a great
> loss to him. As for Enzo Stuarti as a singer, I don't think there is
> any comparison to be made between him and Sergio much less him and
> Mario Lanza. He claimed, when I intereviewed him, that ML was a major
> influence in his career and that, "My voice was so much like his that
> people often got them confused." Well, when he said that I simply
> held my tounge but there is no way, on God's green earth - IMO, that
> anyone with half an ear could ever mistake Enzo Stuarti for ML or
> Sergio Franchi. But I digress.
>
> Sergio's voice, IMO was a unique one. Baritonal in quality at the
> bottom (he had a good one) and up through the middle voice. As for
> his top, the Ed Sullivan DVD is wonderfully revealling. I think it
> was a fairly easy top and his use of pianissimo was quite lovely
> (something I wish Mario had employed more often). I not speaking of
> falsetto now but rather head voice or "mixed voice." When you watch
> Sergio on this DVD you can see his "technique" in full display. He
> very often spreads at the top rather than keeping the tone covered.
> This of course is an artistic choice. My hunch is that Sergio somehow
> believed that by spreading the tone, and he does it after he arrives
> on the note in the usual covered fashion, he was sounding perhaps less
> "operatic' and more "pop." This is merely a hypothesis as I do not
> know for certain. But, watching him sing (and he sings a range of
> repertoire, "Core 'n grato" to a dico-like "Granada) is indeed
> revealing. One last thought. One Sergio's LIVE AT THE COCOANUT GROVE
> CD - still available by the way, Neil Warner his music director plays
> a beautiful and unusual accompaniment of Debussey's "Clair de Lune" as
> Sergio sings Cole Porter's "In the Still of the Night." A most
> inventive and lovely bit of musical joining.
>
> Ciao,
>
> Tony
>
> Here's a link to Enzo Stuarti ( a selectio from his debut album for
> Jubilee)http://www.4shared.com/account/file/47800789/480e1445/Enzo_Stuarti_-_...
>
> Think he sounds anything like Sergio or our boy???
>
> On Nov 1, 4:54 pm, Thelma <TFPri...@gmail.com> wrote:
>
>
>
> > thank you for your notes about Sergio. Yes, I certainly am a fan of
> > his.I hear about these high notes which Sergio did not sing very much
> > from several people on the forums. But I don't feel that way. When
> > I heard him perform in 1972 for two hours in Las Vegas at the Flamenco
> > Hotel, I couldn't t believe what a BIG voice I heard. I believe I
> > must be a person who does not dissect the song itself too much when a
> > singer sings. I manage to get the meaning though! In person, I watch
> > the person's face and hear with my ears and Sergio thrilled me! It
> > wasn't just his handsome looks, it was his whole persona. Now when I
> > play his CD's I imagine him the way I saw him in the live show. This
> > show was full of energy with other singers and dancers joining in and
> > everybody was in a costume, although he had some solos. He sang
> > Stella by Starlight by himself and several others which ones I don't
> > remember Also he sang in the Still of the Night.. Yes, his voice was
> > a beautiful one, vibrant, thrilling and you just wanted more of it.
>
> > On Nov 1, 1:54 pm, Sam <s...@bee.net> wrote:
>
> > > Tony, Derek, Thelma, Maria Luisa: My take on Sergio is that he should
> > > be given a lot more credit today and be compared to the existing
> > > tenors that can sing pop as well as opera. He would stand tall among
> > > them for sheer talent and voice quality. His fine dark timbre and
> > > bright top makes for a thrilling combination. He had a commanding
> > > stature as well. My problem with Sergio was and is that I always
> > > wanted MORE from him. That wide open sound near his top wasn't as
> > > exciting as a more covered tone would be and, most importantly for a
> > > tenor, I always felt he held back on the high notes. His performances
> > > were the exact opposite of Mario's Coke Shows. Whenever there was an
> > > opportunity for a high B or C, Sergio would end with a lower note.
> > > Fred Day has gone so far as to document exactly how many high C's
> > > Franchi put on record. Four of them...that is all. He has one amazing
> > > high C (probably his best single note ever) at the end of "Diane". It
> > > is truly exciting. PS. My friend Ron and I heard Sergio live in
> > > Philadelphia on the old Mike Douglas Show and I am sorry to tell you
> > > that many of his older female fans were thirsting for him to sing a
> > > few notes to them during the commercial breaks and he flatly refused.
> > > Again, he was sparing his voice. Alas, he died too young at age 64
> > > from cancer of the brain.
>
> > > On Nov 1, 10:44 am, Maria Luísa <Maria.c...@gmail.com> wrote:
>
> > > > I went to hear this singer after reading your message. I had heard his
> > > > voice only once sometime ago on Youtube in a regular recording due to
> > > > something I had read about his widow, because of that I did not pay
> > > > him much attention then to his voice to be honest. Today was different
> > > > and I must say I was greatly surprised after watching seven videos. A
> > > > very beautiful tone of voice full of power and very clear. Wonderful
> > > > diction. I agree, if he did not get into Opera world, I mean if he was
> > > > not invited to, then that was a big shame because he positively would
> > > > have become a great tenor I think. He died young so I read, what was
> > > > the cause? Car accident? Heart-atack? Thanks Tonytenor for bringing
> > > > Sergio Franchi into our knowledge, at least into mine.
>
> > > > On Oct 31, 10:37 pm, Tonytenor <tonyparting...@gmail.com> wrote:
>
> > > > > Hello all! I'm not sure if anyone in the forum shares my affection
> > > > > for the late Italian-American tenor Sergio Franchi but if you do, you
> > > > > may want to check out this relatively new DVD (and CD) from SOFA
> > > > > Entertainment. It is a collection of some of Sergio's guest
> > > > > appearances on the Ed Sullivan Show. It is quite good, as is the CD
> > > > > of the same performances. I have long wanted to SEE Sergio perform. I
> > > > > was fortunate enough to see him live in 1986 at the New Jersey State
> > > > > Fair - he was wonderul but we were a good enough distance from the
> > > > > stage and I could not really see his vocal technique. I must be
> > > > > honest and say that he gets my vote for perhaps being the most vocally
> > > > > romantic crossover tenor of all time. He knew how to sell a song, how
> > > > > to tell the story and while his forte top was good - I think he spread
> > > > > a bit too much at times, perhaps trying to go for a more "pop" sound -
> > > > > his sotto voce and mixed voice, with a majority of head voice could be
> > > > > breathtaking. For my money, Sergio's version of Victor Young's
> > > > > "Stella By Starlight" is the definitive reading of this beautiful
> > > > > piece. In all events, I shall stop waxing Sergio and simply provide
> > > > > the link to the DVD. As I say, the CD is simply the audio of all the
> > > > > selections on the DVD with the exception of "Take The Moment" from DO
> > > > > I HEAR A WALTZ (which he starred in with Elizabeth Allen on Broadway
> > > > > back in the mid 1960s). Here's the link:http://www.sofaentertainment.com/sergio-franchi-sullivan-show-p-175.html
>
> > > > > Ciao,
>
> > > > > Tony
>
> > > > > PS: You can see a commercial for the DVD on YouTube:http://www.youtube.com/results?search_query=Sergio+Franchi&search_typ...text -
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