Constantine Callinicos
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Derek McGovern
Sep 5, 2008, 10:29:29 PM9/5/08
to The Mario Lanza Forum
Carol has suggested to me privately that we create a separate
Callinicos thread. I think this is a good idea; that way, the current
"New Members" thread can return to its original function as a meet-
and-greet thread. Here, then, are some of the recent posts to and from
Carol on the subject of Constantine Callinicos:
Carol K.
Sep 3,
Hi Derek,
To answer some questions: My memory of Mario Lanza singing in our
living room was during one of his visits when I was about 3 years
old. That would have been in late-1949 or 1950. His voice always had
a huge affect on me. Mom and Dad used to play his music on the
Magnavox and I loved listening to that voice. And because the man
with the beautiful voice actually sang a song to me, I’ve remained
smitten my entire life. I will be 62 later this month, and to this
day, whenever I hear his voice I get goosebumps and oftentimes very
emotional. No one has a voice like his! It reaches right inside to
my very soul.
My father knew Mario Lanza for quite some time and was understandably
a huge fan. Dad had been a stage actor during the late 20s and moved
to the west coast and played roles in the mid- to late-30s on screen,
and then became associated with Fox West Coast Theaters and Charles P.
Skouras. It was my dad who introduced Lanza to Constantine (Costa)
Callinicos, my dad's youngest brother. The introduction was made at
Costa’s request, according to my Dad. The recordings I mentioned were
done in studio in the late 40s, I believe; and had been in my father's
possession all the while until they were carefully packed just before
his death in January of 1990. I had not heard them played in many,
many years but looked forward to being able to play them one day for
my husband to hear and to find a way to transfer them. Unfortunately,
we never unpacked the recordings or got around to transferring them to
other media (e.g., CD) because we did not have the means of doing so.
The recordings were carefully stored in protective packaging and I
foolishly thought they would always be kept safe.
Because I've not heard these recordings played since the very
early-1960s when I was in junior high school, I would only be guessing
as to the titles. My father was a very private man and refused to
label photographs or keep an inventory, so the pieces performed were
not listed anywhere apart from the label on the records themselves. In
the interim, I learned that my uncle (who had been completely
estranged from my father since the early 1960s) had taken a job with
RCA in New York. There he worked on, among other things, bringing
the
Lanza catalog up to date with re-releases on current media. All that I
have left of the collaboration between these two men is one photo
taken of them, which in all probability, was for promotional
purposes.
Nevertheless, I value it highly.
Best regards,
Carol K.
***********
Derek McGovern
Sep 3
Very interesting, Carol; thank you!
Naturally, I have a few questions :-) First, I'm just a bit confused
by this sentence: "It was my dad who introduced Lanza to Constantine
(Costa) Callinicos, my dad's youngest brother. The introduction was
made at Costa’s request, according to my Dad." This reads as though
your father's youngest brother was Callinicos -- which I'm sure you
didn't mean. (I'm assuming that you meant that Lanza introduced
Callinicos *to* your father's brother.)
Also, how did your father happen to come into possession of those
unreleased recordings? Were they rejected outtakes that Callinicos had
given him, or did Mario himself present them to your father?
It would be nice to know what your father's name was! I would also
love to see the one surviving photo that you have of him with Lanza.
Regards
Derek
*********
CK
Sep 3
Sorry for any confusion, Derek. But, yes, Constantine Callinicos was
indeed my uncle -- Uncle Costa was my father's youngest brother.
To answer your questions: I don't know how my father came into
possession of the recordings. I imagine they must have been from
Uncle Costa. All Dad ever referred to them as being were unreleased
recordings; never as rejects or outtakes of any kind. And that's all
I know.
My father's name was Victor Adams. He was born Adamantios Nikolaos
Kallinikos (there is no 'c' in the Greek alphabet), which later became
a bone of contention between the
brothers. My father took an anglo stage name (his agent advised him to
do so in the 1920s) using a translation of his birth name, and
reversed the order: Adamantios (Adam, to the family), became "Adams"
Kallinikos, which means good or beautiful victory, became "Victor"
Therefore, his acting name was "Victor Adams", a name he kept for the
rest of his life.
Broadway Database link:
http://www.ibdb.com/person.php?id=29378
Internet Movie Database link:
http://www.imdb.com/name/nm0011423/
If you will advise me how, I will be most glad to post a copy of the
photo that I have of Constantine Callinicos and Mario Lanza. The photo
was taken by James Abresch, NYC but is undated.
Cheers,
Carol K
*********
Carol K.
Sep 5
My knowledge of Constantine (Costa) Callinicos’ background is a bit
sketchy in that I know mainly only what my father shared about him.
Uncle (“Theo,” in Greek) Costa was the only sibling born in the United
States and he was the only one to return to Greece, at a very young
age, with my grandparents. His older siblings perhaps thought him a
bit spoiled due to being the youngest (or perhaps as lucky to be an
“only child” when he returned to Greece with their parents). In
Greece he studied music and piano and later continued his studies
back
in the United States. From there he went on to follow his passion
professionally as a pianist, conductor, and composer.
On a leaflet that I have on file, promoting the “Callinicos Little
Symphony” with Constantine Callinicos, Conductor, there is a paragraph
that corroborates what I know as well as filling in some gaps about
Theo Costa. Although used for promotion and public relations it sums
up his background and professional life prior to his work with Mario
Lanza and other projects he later became involved with.
===
“Constantine Callinicos, New York born pianist-conductor-composer,
lived in Athens Greece for fourteen years and is a graduate of the
Athens Conservatory of Music, Greece. In 1935 he returned to the
United States and studied at the Julliard Graduate School. Following
graduation from the Julliard School, Constantine Callinicos toured
with Lily Pons. After serving three years in the U.S. Army he debuted
in New York, May 26, 1946, in the triple role of conductor-pianist-
composer with the New York Philharmonic Orchestra in Carnegie Hall.
His appearance with the New York Philharmonic won for him enthusiastic
acclaim from the New York press. Following his debut a tour of over
150 appearances throughout the U.S., Canada and Mexico was booked
which combined the diverse activities of playing recitals and also
appearing as conductor and assisting artist to several of the well
known singers.”
===
Beyond the above, I’ve not been very privy to much first hand
professional information about him. My contact with Theo Costa beyond
visits with him, my Thea (Aunt) Olga (his first wife) and their son
Peter, did not extend beyond my early childhood. I remember him as a
kind yet distant man, who looked an awful lot like my dad. However,
every time I listen to a recording of Mario Lanza involving Theo
Costa, either as conductor or accompanist, I feel close to him. He
could be temperamental, much like my father. Perhaps that is a
Kallinikos (Callinicos) male trait. My musical memory of him is that
he was magnificent when he played piano. He loved to play and the
music just seemed to flow through him.
Theo Costa left Thea Olga and Peter and for several years reportedly
lived abroad. My father told my mother and me that Thea Olga and
Cousin Peter also moved away, when in fact they had not. I never saw
Theo Costa again. But I did hear bits and pieces of him. He did
return to the United States and to New York (not certain as to the
year) with his second wife, Annemarie. During the late 60’s he
organized The Constantine Callinicos Orchestra and recorded “Beloved
Melodies of Greece” on the Four Corners Records label. He worked for
RCA in New York on the re-release (remastering) of Mario Lanza’s
catalog of work on that label. Costa resided in New York until his
death in 1986. I was only briefly reunited with his son, my Cousin
Peter, following Thea Olga’s death in late 2003, after an absence of
almost 45 years.
If anyone on this forum has any additional information about
Constantine Callinicos to share, I would be most interested in
learning further about him. All of my family’s photos and documents
dating back to the 1880’s including photos of the Kallinikos family in
Greece, in New York and on the farm in Bergenfield, Bergen County, New
Jersey from the early 1900’s were lost in our house fire of 2006. Had
my cousin not come to visit in 2003, the photos and documents that I
do have would also have been lost. Instead of returning them to the
files, I kept them in my desk in my office. The universe operates in
curious ways, doesn’t it?
Best wishes,
Carol K. Gangey
**********
Derek McGovern
Sep 6
Hi Carol: Thanks for this interesting post. You may not be aware that
Tony Partington -- another member of this forum -- studied with
Constantine Callinicos from 1977 to 1981. I'm sure he'll be happy to
share some of his memories of your uncle with our group.
Cheers
Derek
Callinicos thread. I think this is a good idea; that way, the current
"New Members" thread can return to its original function as a meet-
and-greet thread. Here, then, are some of the recent posts to and from
Carol on the subject of Constantine Callinicos:
Carol K.
Sep 3,
Hi Derek,
To answer some questions: My memory of Mario Lanza singing in our
living room was during one of his visits when I was about 3 years
old. That would have been in late-1949 or 1950. His voice always had
a huge affect on me. Mom and Dad used to play his music on the
Magnavox and I loved listening to that voice. And because the man
with the beautiful voice actually sang a song to me, I’ve remained
smitten my entire life. I will be 62 later this month, and to this
day, whenever I hear his voice I get goosebumps and oftentimes very
emotional. No one has a voice like his! It reaches right inside to
my very soul.
My father knew Mario Lanza for quite some time and was understandably
a huge fan. Dad had been a stage actor during the late 20s and moved
to the west coast and played roles in the mid- to late-30s on screen,
and then became associated with Fox West Coast Theaters and Charles P.
Skouras. It was my dad who introduced Lanza to Constantine (Costa)
Callinicos, my dad's youngest brother. The introduction was made at
Costa’s request, according to my Dad. The recordings I mentioned were
done in studio in the late 40s, I believe; and had been in my father's
possession all the while until they were carefully packed just before
his death in January of 1990. I had not heard them played in many,
many years but looked forward to being able to play them one day for
my husband to hear and to find a way to transfer them. Unfortunately,
we never unpacked the recordings or got around to transferring them to
other media (e.g., CD) because we did not have the means of doing so.
The recordings were carefully stored in protective packaging and I
foolishly thought they would always be kept safe.
Because I've not heard these recordings played since the very
early-1960s when I was in junior high school, I would only be guessing
as to the titles. My father was a very private man and refused to
label photographs or keep an inventory, so the pieces performed were
not listed anywhere apart from the label on the records themselves. In
the interim, I learned that my uncle (who had been completely
estranged from my father since the early 1960s) had taken a job with
RCA in New York. There he worked on, among other things, bringing
the
Lanza catalog up to date with re-releases on current media. All that I
have left of the collaboration between these two men is one photo
taken of them, which in all probability, was for promotional
purposes.
Nevertheless, I value it highly.
Best regards,
Carol K.
***********
Derek McGovern
Sep 3
Very interesting, Carol; thank you!
Naturally, I have a few questions :-) First, I'm just a bit confused
by this sentence: "It was my dad who introduced Lanza to Constantine
(Costa) Callinicos, my dad's youngest brother. The introduction was
made at Costa’s request, according to my Dad." This reads as though
your father's youngest brother was Callinicos -- which I'm sure you
didn't mean. (I'm assuming that you meant that Lanza introduced
Callinicos *to* your father's brother.)
Also, how did your father happen to come into possession of those
unreleased recordings? Were they rejected outtakes that Callinicos had
given him, or did Mario himself present them to your father?
It would be nice to know what your father's name was! I would also
love to see the one surviving photo that you have of him with Lanza.
Regards
Derek
*********
CK
Sep 3
Sorry for any confusion, Derek. But, yes, Constantine Callinicos was
indeed my uncle -- Uncle Costa was my father's youngest brother.
To answer your questions: I don't know how my father came into
possession of the recordings. I imagine they must have been from
Uncle Costa. All Dad ever referred to them as being were unreleased
recordings; never as rejects or outtakes of any kind. And that's all
I know.
My father's name was Victor Adams. He was born Adamantios Nikolaos
Kallinikos (there is no 'c' in the Greek alphabet), which later became
a bone of contention between the
brothers. My father took an anglo stage name (his agent advised him to
do so in the 1920s) using a translation of his birth name, and
reversed the order: Adamantios (Adam, to the family), became "Adams"
Kallinikos, which means good or beautiful victory, became "Victor"
Therefore, his acting name was "Victor Adams", a name he kept for the
rest of his life.
Broadway Database link:
http://www.ibdb.com/person.php?id=29378
Internet Movie Database link:
http://www.imdb.com/name/nm0011423/
If you will advise me how, I will be most glad to post a copy of the
photo that I have of Constantine Callinicos and Mario Lanza. The photo
was taken by James Abresch, NYC but is undated.
Cheers,
Carol K
*********
Carol K.
Sep 5
My knowledge of Constantine (Costa) Callinicos’ background is a bit
sketchy in that I know mainly only what my father shared about him.
Uncle (“Theo,” in Greek) Costa was the only sibling born in the United
States and he was the only one to return to Greece, at a very young
age, with my grandparents. His older siblings perhaps thought him a
bit spoiled due to being the youngest (or perhaps as lucky to be an
“only child” when he returned to Greece with their parents). In
Greece he studied music and piano and later continued his studies
back
in the United States. From there he went on to follow his passion
professionally as a pianist, conductor, and composer.
On a leaflet that I have on file, promoting the “Callinicos Little
Symphony” with Constantine Callinicos, Conductor, there is a paragraph
that corroborates what I know as well as filling in some gaps about
Theo Costa. Although used for promotion and public relations it sums
up his background and professional life prior to his work with Mario
Lanza and other projects he later became involved with.
===
“Constantine Callinicos, New York born pianist-conductor-composer,
lived in Athens Greece for fourteen years and is a graduate of the
Athens Conservatory of Music, Greece. In 1935 he returned to the
United States and studied at the Julliard Graduate School. Following
graduation from the Julliard School, Constantine Callinicos toured
with Lily Pons. After serving three years in the U.S. Army he debuted
in New York, May 26, 1946, in the triple role of conductor-pianist-
composer with the New York Philharmonic Orchestra in Carnegie Hall.
His appearance with the New York Philharmonic won for him enthusiastic
acclaim from the New York press. Following his debut a tour of over
150 appearances throughout the U.S., Canada and Mexico was booked
which combined the diverse activities of playing recitals and also
appearing as conductor and assisting artist to several of the well
known singers.”
===
Beyond the above, I’ve not been very privy to much first hand
professional information about him. My contact with Theo Costa beyond
visits with him, my Thea (Aunt) Olga (his first wife) and their son
Peter, did not extend beyond my early childhood. I remember him as a
kind yet distant man, who looked an awful lot like my dad. However,
every time I listen to a recording of Mario Lanza involving Theo
Costa, either as conductor or accompanist, I feel close to him. He
could be temperamental, much like my father. Perhaps that is a
Kallinikos (Callinicos) male trait. My musical memory of him is that
he was magnificent when he played piano. He loved to play and the
music just seemed to flow through him.
Theo Costa left Thea Olga and Peter and for several years reportedly
lived abroad. My father told my mother and me that Thea Olga and
Cousin Peter also moved away, when in fact they had not. I never saw
Theo Costa again. But I did hear bits and pieces of him. He did
return to the United States and to New York (not certain as to the
year) with his second wife, Annemarie. During the late 60’s he
organized The Constantine Callinicos Orchestra and recorded “Beloved
Melodies of Greece” on the Four Corners Records label. He worked for
RCA in New York on the re-release (remastering) of Mario Lanza’s
catalog of work on that label. Costa resided in New York until his
death in 1986. I was only briefly reunited with his son, my Cousin
Peter, following Thea Olga’s death in late 2003, after an absence of
almost 45 years.
If anyone on this forum has any additional information about
Constantine Callinicos to share, I would be most interested in
learning further about him. All of my family’s photos and documents
dating back to the 1880’s including photos of the Kallinikos family in
Greece, in New York and on the farm in Bergenfield, Bergen County, New
Jersey from the early 1900’s were lost in our house fire of 2006. Had
my cousin not come to visit in 2003, the photos and documents that I
do have would also have been lost. Instead of returning them to the
files, I kept them in my desk in my office. The universe operates in
curious ways, doesn’t it?
Best wishes,
Carol K. Gangey
**********
Derek McGovern
Sep 6
Hi Carol: Thanks for this interesting post. You may not be aware that
Tony Partington -- another member of this forum -- studied with
Constantine Callinicos from 1977 to 1981. I'm sure he'll be happy to
share some of his memories of your uncle with our group.
Cheers
Derek
Derek McGovern
Sep 5, 2008, 10:54:47 PM9/5/08
to The Mario Lanza Forum
Hi Carol: I'm not sure if you're aware of this, but your uncle has
long been a controversial figure among Lanza aficionados! This has
been for two main reasons: firstly, the quality of some of his
conducting of *operatic* material for Lanza (mainly arias and duets
recorded at RCA 1949-1950, together with arias from the 1952 Coke
Shows), as distinct from his almost-universally praised work on the
1952-53 Student Prince, and, secondly, because of his 1960 Lanza
biography, which contains a number of glaring discrepancies. You may
be interested in this discussion thread on the various biographies:
http://groups.google.com/group/mariolanza/browse_thread/thread/d6adeaba8d61069d/fb6177a6f8bb654b?lnk=gst&q=callinicos#fb6177a6f8bb654b
Here, I go into detail about some of the discrepancies in your uncle's
book. (I should add that I'm fairly tough on him here!) What's
interesting, though, is that in later years, Callinicos contradicted
much of what he'd written in 1960. For example, in his rather
depressing book (which, of course, was co-authored by Ray Robinson),
he makes it very clear that he regarded Lanza as an alcoholic, yet in
radio interviews in both the 1970s and early 1980s, he insisted that
this was not the case at all. In fact, he claimed in a Radio New
Zealand interview with Lindsay Perigo that there were only a few
periods in Mario's life in which he drank too much! You can download
this interview here:
http://www.solopassion.com/node/2090
It's a delightful interview interspersed with some well-chosen
recordings.
Cheers
Derek
long been a controversial figure among Lanza aficionados! This has
been for two main reasons: firstly, the quality of some of his
conducting of *operatic* material for Lanza (mainly arias and duets
recorded at RCA 1949-1950, together with arias from the 1952 Coke
Shows), as distinct from his almost-universally praised work on the
1952-53 Student Prince, and, secondly, because of his 1960 Lanza
biography, which contains a number of glaring discrepancies. You may
be interested in this discussion thread on the various biographies:
http://groups.google.com/group/mariolanza/browse_thread/thread/d6adeaba8d61069d/fb6177a6f8bb654b?lnk=gst&q=callinicos#fb6177a6f8bb654b
Here, I go into detail about some of the discrepancies in your uncle's
book. (I should add that I'm fairly tough on him here!) What's
interesting, though, is that in later years, Callinicos contradicted
much of what he'd written in 1960. For example, in his rather
depressing book (which, of course, was co-authored by Ray Robinson),
he makes it very clear that he regarded Lanza as an alcoholic, yet in
radio interviews in both the 1970s and early 1980s, he insisted that
this was not the case at all. In fact, he claimed in a Radio New
Zealand interview with Lindsay Perigo that there were only a few
periods in Mario's life in which he drank too much! You can download
this interview here:
http://www.solopassion.com/node/2090
It's a delightful interview interspersed with some well-chosen
recordings.
Cheers
Derek
Carol K.
Sep 6, 2008, 1:33:04 AM9/6/08
to The Mario Lanza Forum
Thank you so much for sharing these links, Derek. And, yes, indeed, I
am aware that Costa was a controversial figure. . .even within our
family. I recall that Dad picked up a copy of Costa's biography of
Mario Lanza shortly after it was published. Dad considered Costa
very inconsistent as well. I clearly remember that some of the
content angered him. He felt that Theo Costa had a huge ego and was
using Lanza's name for his own benefit, which may have been the case.
I don't know. Costa was a persona non grata even before I graduated
from junior high in 1961. My memories of him, previously posted, were
from my personal perspective and based on contact with him years
before when I was a young child.
So yes, I'm entirely interested in learning more about him . . .the
good, the bad, and the ugly. . .because I've been thoroughly schooled
from the ugly perspective with regard to family matters. Thank you
for sharing those links with me. I will dig into them over the
weekend. Whatever pluses or minuses there may be caused by Costa
Callinicos, my fondness for the 'voice' that was Lanza's will never be
tarnished.
Best regards,
Carol K.
On Sep 5, 7:54 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Hi Carol: I'm not sure if you're aware of this, but your uncle has
> long been a controversial figure among Lanza aficionados! This has
> been for two main reasons: firstly, the quality of some of his
> conducting of *operatic* material for Lanza (mainly arias and duets
> recorded at RCA 1949-1950, together with arias from the 1952 Coke
> Shows), as distinct from his almost-universally praised work on the
> 1952-53 Student Prince, and, secondly, because of his 1960 Lanza
> biography, which contains a number of glaring discrepancies. You may
> be interested in this discussion thread on the various biographies:
>
> http://groups.google.com/group/mariolanza/browse_thread/thread/d6adea...
am aware that Costa was a controversial figure. . .even within our
family. I recall that Dad picked up a copy of Costa's biography of
Mario Lanza shortly after it was published. Dad considered Costa
very inconsistent as well. I clearly remember that some of the
content angered him. He felt that Theo Costa had a huge ego and was
using Lanza's name for his own benefit, which may have been the case.
I don't know. Costa was a persona non grata even before I graduated
from junior high in 1961. My memories of him, previously posted, were
from my personal perspective and based on contact with him years
before when I was a young child.
So yes, I'm entirely interested in learning more about him . . .the
good, the bad, and the ugly. . .because I've been thoroughly schooled
from the ugly perspective with regard to family matters. Thank you
for sharing those links with me. I will dig into them over the
weekend. Whatever pluses or minuses there may be caused by Costa
Callinicos, my fondness for the 'voice' that was Lanza's will never be
tarnished.
Best regards,
Carol K.
On Sep 5, 7:54 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Hi Carol: I'm not sure if you're aware of this, but your uncle has
> long been a controversial figure among Lanza aficionados! This has
> been for two main reasons: firstly, the quality of some of his
> conducting of *operatic* material for Lanza (mainly arias and duets
> recorded at RCA 1949-1950, together with arias from the 1952 Coke
> Shows), as distinct from his almost-universally praised work on the
> 1952-53 Student Prince, and, secondly, because of his 1960 Lanza
> biography, which contains a number of glaring discrepancies. You may
> be interested in this discussion thread on the various biographies:
>
gary from N.S.
Sep 9, 2008, 12:06:29 PM9/9/08
to The Mario Lanza Forum
To Carol K,
Hi Carol, and thanks for your interesting posts concerning Mario and
your Uncle C.
How spectacular, that Mario himself,sang to you..wow..Not many of us
could ever make that statement..even though I must say his recordings
do often times, sound like he is in fact singing to us all
individually..
I am also at awe, to read of your connection to Costa.It is simply a
shame the recordings you mentioned had been lost.
I am just 2 years older than yourself,so I can at least add that I
have been a fan of Mario's for well over 50 years.
I would just like to ask you if you have been a member of any other
Lanza forums or fan clubs, over the years? I am curious why your
wonderful connection to Mario and Costa has never been "mentioned"
before. I ask this in a most respectful manner.
I am sad for your loss of such wonderful items from your family
history due to the fire, and it is a good reminder to each of us to
back up our photos, and documents, and recordings which we treasure.
A pleasure to see you here..
Cheers
Gary
Hi Carol, and thanks for your interesting posts concerning Mario and
your Uncle C.
How spectacular, that Mario himself,sang to you..wow..Not many of us
could ever make that statement..even though I must say his recordings
do often times, sound like he is in fact singing to us all
individually..
I am also at awe, to read of your connection to Costa.It is simply a
shame the recordings you mentioned had been lost.
I am just 2 years older than yourself,so I can at least add that I
have been a fan of Mario's for well over 50 years.
I would just like to ask you if you have been a member of any other
Lanza forums or fan clubs, over the years? I am curious why your
wonderful connection to Mario and Costa has never been "mentioned"
before. I ask this in a most respectful manner.
I am sad for your loss of such wonderful items from your family
history due to the fire, and it is a good reminder to each of us to
back up our photos, and documents, and recordings which we treasure.
A pleasure to see you here..
Cheers
Gary
Tonytenor
Sep 9, 2008, 5:04:50 PM9/9/08
to The Mario Lanza Forum
Hello Folks!
Well, I must say, how very fascinating to learn all this about Maestro
Callinicos. Carol, what a wonderful story of your relationship to
Constantine Callinicos. I will tell you right up front, I am rather
subjective on the subject of "Costa" as he was so very kind to me and
taught me a great deal not only about music and singing but also about
being a singer and all that it entails; the responsibilities, etc.
Also, after auditioning for him in the Summer of 1977 and being
accepted into his studio, it was at his urging that I moved to New
York City to study with him. Both he and Annamarie were so ve kind to
me and in so many ways. I felt, so often, that they were my surrogate
parents in a way. When Maestro Callinicos encouraged me to come to
NYC I was honest with him and told him that, not only could I not
afford it but I had no place to live (even back then that was a
difficult obstacle to overcome). Amazingly, Constantine and Annamarie
solved that problem for me. They had a friend who was living abroad
and had an apartment in NYC that she desired to sublet. Well,
needless to say I was stunned when the phone rang at my home in
Virginia and it was Maestro Callinicos telling me to write down an
address: 19 West 70th Street, New York, NY. I was speechless and then
stammered something about it probably being beyond my means.
Constantine told me the rent was $300.00 per month. Now as you
probably know, even back in 1977 that was unbelievably inexpensive.
It turned out that their friend had had the apartment for many years
and was rent controlled. She did not want to make a profit off of the
apartment, she simply wanted someone responsible watching over
things. You can only imagine how thrilled and in disbelief I was. I
was going to move to NYC and study with my idol's conductor,
accompanist and coach! Upon my arrival to NYC Constantine and
Annamarie met me at the aforementioned address and showed me into the
lovely one-bedroom brownstone apartment that would be my home for the
next few years as I studied with Maestro Callinicos. Needless to say
I could go on and on about my experiences with Constantine Callinicos
and shall, at Derek's suggestion write something much more detailed
and offer it up for possible inclusion in the writings section.
One comment I will make though about the meeting between Constantine
and Mario; the Maestro always told me they met in Shippensburg, PA
(their first concert appearance together) having never rehearsed the
program. The first piece that Mario sang, according to CC, was
Stradella's "Pieta Signore." This is very likely as Mario had this
beautiful arietta in his repertoire during his entire career (evidence
him singing it at the RAH concert of 1/16/1958). In all events, Costa
and I discussed that first concert several times and more than not he
would have tears in his eyes as he described the beauty and power of
Mario's voice. As I have said before, at the point that I was working
with CC, he had conducted at the New York Opera (then called the New
York City Center Opera) and had had occasion to conduct and hear the
likes of a young Placido Domingo, Enrico DiGiussepi, even perhaps the
young Jerry Hadley. In all events, CC knew voices. He had
accompanied many accomplished opera "stars" and he always told me that
no tenor he ever worked with or heard could even compare to Mario
Lanza. No small endorsement when you consider who Costa must have
heard in his time.
Is the story about Shippensburg, PA and that being their first meeting
true? I don't know now. I believed Constantine when he told me of
this amazing moment in his life. He had no reason to lie to me. So
often though stories change and what one "remembers" is not always
exactly as things occured. In the end, what does it matter? Very
little I think. The fact is that Constantine Callinicos and Mario
Lanza did work together and theirs was, I think we can all agree, a
positive relationship. I personally believe it is thanks, in large
part, to CC that we have so many of the brilliant recordings of Mario
that we do. But alas, that discussion is for another time...
Ciao, Tony
> > > Derek- Hide quoted text -
>
> - Show quoted text -
Well, I must say, how very fascinating to learn all this about Maestro
Callinicos. Carol, what a wonderful story of your relationship to
Constantine Callinicos. I will tell you right up front, I am rather
subjective on the subject of "Costa" as he was so very kind to me and
taught me a great deal not only about music and singing but also about
being a singer and all that it entails; the responsibilities, etc.
Also, after auditioning for him in the Summer of 1977 and being
accepted into his studio, it was at his urging that I moved to New
York City to study with him. Both he and Annamarie were so ve kind to
me and in so many ways. I felt, so often, that they were my surrogate
parents in a way. When Maestro Callinicos encouraged me to come to
NYC I was honest with him and told him that, not only could I not
afford it but I had no place to live (even back then that was a
difficult obstacle to overcome). Amazingly, Constantine and Annamarie
solved that problem for me. They had a friend who was living abroad
and had an apartment in NYC that she desired to sublet. Well,
needless to say I was stunned when the phone rang at my home in
Virginia and it was Maestro Callinicos telling me to write down an
address: 19 West 70th Street, New York, NY. I was speechless and then
stammered something about it probably being beyond my means.
Constantine told me the rent was $300.00 per month. Now as you
probably know, even back in 1977 that was unbelievably inexpensive.
It turned out that their friend had had the apartment for many years
and was rent controlled. She did not want to make a profit off of the
apartment, she simply wanted someone responsible watching over
things. You can only imagine how thrilled and in disbelief I was. I
was going to move to NYC and study with my idol's conductor,
accompanist and coach! Upon my arrival to NYC Constantine and
Annamarie met me at the aforementioned address and showed me into the
lovely one-bedroom brownstone apartment that would be my home for the
next few years as I studied with Maestro Callinicos. Needless to say
I could go on and on about my experiences with Constantine Callinicos
and shall, at Derek's suggestion write something much more detailed
and offer it up for possible inclusion in the writings section.
One comment I will make though about the meeting between Constantine
and Mario; the Maestro always told me they met in Shippensburg, PA
(their first concert appearance together) having never rehearsed the
program. The first piece that Mario sang, according to CC, was
Stradella's "Pieta Signore." This is very likely as Mario had this
beautiful arietta in his repertoire during his entire career (evidence
him singing it at the RAH concert of 1/16/1958). In all events, Costa
and I discussed that first concert several times and more than not he
would have tears in his eyes as he described the beauty and power of
Mario's voice. As I have said before, at the point that I was working
with CC, he had conducted at the New York Opera (then called the New
York City Center Opera) and had had occasion to conduct and hear the
likes of a young Placido Domingo, Enrico DiGiussepi, even perhaps the
young Jerry Hadley. In all events, CC knew voices. He had
accompanied many accomplished opera "stars" and he always told me that
no tenor he ever worked with or heard could even compare to Mario
Lanza. No small endorsement when you consider who Costa must have
heard in his time.
Is the story about Shippensburg, PA and that being their first meeting
true? I don't know now. I believed Constantine when he told me of
this amazing moment in his life. He had no reason to lie to me. So
often though stories change and what one "remembers" is not always
exactly as things occured. In the end, what does it matter? Very
little I think. The fact is that Constantine Callinicos and Mario
Lanza did work together and theirs was, I think we can all agree, a
positive relationship. I personally believe it is thanks, in large
part, to CC that we have so many of the brilliant recordings of Mario
that we do. But alas, that discussion is for another time...
Ciao, Tony
>
> - Show quoted text -
Derek McGovern
Sep 9, 2008, 9:00:14 PM9/9/08
to The Mario Lanza Forum
Thanks for this interesting post, Tony. You certainly encountered a
very different Callinicos from the one that Armando met in the 1970s!
Yes, it would be good to clear up this matter of how Callinicos and
Lanza first met. Actually, I've always wondered if the "Pieta',
Signore" story was true; for one thing, I'm not convinced that Lanza
would have sung this piece as his opening number.
Cheers
Derek
very different Callinicos from the one that Armando met in the 1970s!
Yes, it would be good to clear up this matter of how Callinicos and
Lanza first met. Actually, I've always wondered if the "Pieta',
Signore" story was true; for one thing, I'm not convinced that Lanza
would have sung this piece as his opening number.
Cheers
Derek
Tonytenor
Sep 9, 2008, 9:28:56 PM9/9/08
to The Mario Lanza Forum
Hi Derek,
I must say I am intrigued re: your saying that I knew a different
Callinicos than Armando did. What's up with that? Wast Costa somehow
rude or offensive to Armando?
As for "Pieta Signore" being an opening number here's just a thought.
This was early in Lanza's career as guided by Columbia Artist
Management and I wonder if someone there "guided" the selecting
process of the program. Speaking as a classical singer, it is not
unusual at all for a concert artist to have an opening set of 17th
century art song as an opener. Jon Vickers, the great Canadian tenor
and the late Richard Tucker come to mind in this sense. I personally
believe Mario chose "Lamento di Federico" as an opener in his later
concert programs because he felt - or someone felt - he needed to
start out with something showy. As you probably know, the high B
natural at the end is an ossia, Cilea did not write it in the
original. It was at the request of Gigli that the high note was
interepolated. I don't know, just some thoughts. Wouldn't it be
great to find a copy of that shippensburg concert program and see
what's listed?
All the best, Tony
I must say I am intrigued re: your saying that I knew a different
Callinicos than Armando did. What's up with that? Wast Costa somehow
rude or offensive to Armando?
As for "Pieta Signore" being an opening number here's just a thought.
This was early in Lanza's career as guided by Columbia Artist
Management and I wonder if someone there "guided" the selecting
process of the program. Speaking as a classical singer, it is not
unusual at all for a concert artist to have an opening set of 17th
century art song as an opener. Jon Vickers, the great Canadian tenor
and the late Richard Tucker come to mind in this sense. I personally
believe Mario chose "Lamento di Federico" as an opener in his later
concert programs because he felt - or someone felt - he needed to
start out with something showy. As you probably know, the high B
natural at the end is an ossia, Cilea did not write it in the
original. It was at the request of Gigli that the high note was
interepolated. I don't know, just some thoughts. Wouldn't it be
great to find a copy of that shippensburg concert program and see
what's listed?
All the best, Tony
Derek McGovern
Sep 9, 2008, 10:57:39 PM9/9/08
to The Mario Lanza Forum
Hi Tony: Sorry, I should have made myself clearer. I was thinking
mainly of the contrast between the very helpful Callinicos you knew
and the man who initially refused to speak to Armando unless he was
going to be paid. (This is mentioned in Armando's book.)
Yes, I realize that it's standard practice for operatic singers to
begin a recital with art songs that don't tax them too much vocally,
and which basically function as warm-up numbers. The fact that Lanza
usually began his recitals with an aria as demanding as the Lamento di
Federico (complete, as you mentioned, with the interpolated B natural
-- a killer of a note!) reveals just how vocally assured he was. Yes,
it would be very interesting indeed to find that Shippensburg
programme. It wouldn't surprise me if he was already beginning his
concerts with the Lamento by 1947; after all, look at what he sang in
Toronto the following year: La Donna 'e Mobile and the Lamento back to
back -- both with high Bs -- followed by the difficult Vesti la
Giubba. Impressive stuff for a young tenor.
mainly of the contrast between the very helpful Callinicos you knew
and the man who initially refused to speak to Armando unless he was
going to be paid. (This is mentioned in Armando's book.)
Yes, I realize that it's standard practice for operatic singers to
begin a recital with art songs that don't tax them too much vocally,
and which basically function as warm-up numbers. The fact that Lanza
usually began his recitals with an aria as demanding as the Lamento di
Federico (complete, as you mentioned, with the interpolated B natural
-- a killer of a note!) reveals just how vocally assured he was. Yes,
it would be very interesting indeed to find that Shippensburg
programme. It wouldn't surprise me if he was already beginning his
concerts with the Lamento by 1947; after all, look at what he sang in
Toronto the following year: La Donna 'e Mobile and the Lamento back to
back -- both with high Bs -- followed by the difficult Vesti la
Giubba. Impressive stuff for a young tenor.
Armando
Sep 10, 2008, 1:59:04 AM9/10/08
to The Mario Lanza Forum
Hi Tony and Derek,
At least from 1948 and the Toronto concert, it was standard practice
for Lanza to start his recitals with the Arlesiana aria. He certainly
did that throughout the 22 concerts he sang in 1951.
As regards to Callinicos, the one that you are describing,Tony,
sounds like an entirely different person from the one I dealt with in
1980.
I found him to be extremely mercenary and unwilling to do much unless
there were some advantages to be gained. He began by stating quite
categorically that he wouldn’t talk to me unless I was willing to pay
him. I told him that out of the 70 odd people I had interviewed so far
he was the first one to ask for payment. He was somewhat taken back by
my statement, but he recovered sufficiently and proceeded to tell me
that he would talk to me if I got him a job conducting in Australia! I
replied that I was neither an impresario nor an agent and therefore
couldn’t do anything for him along those lines. He finally relented
and agreed to speak to me, but was not exactly ecstatic at the
prospect of doing it for nothing.
I suspect that the fact that you were paying for singing lessons might
have had a lot to do with his benevolent behavior towards you.
At least from 1948 and the Toronto concert, it was standard practice
for Lanza to start his recitals with the Arlesiana aria. He certainly
did that throughout the 22 concerts he sang in 1951.
As regards to Callinicos, the one that you are describing,Tony,
sounds like an entirely different person from the one I dealt with in
1980.
I found him to be extremely mercenary and unwilling to do much unless
there were some advantages to be gained. He began by stating quite
categorically that he wouldn’t talk to me unless I was willing to pay
him. I told him that out of the 70 odd people I had interviewed so far
he was the first one to ask for payment. He was somewhat taken back by
my statement, but he recovered sufficiently and proceeded to tell me
that he would talk to me if I got him a job conducting in Australia! I
replied that I was neither an impresario nor an agent and therefore
couldn’t do anything for him along those lines. He finally relented
and agreed to speak to me, but was not exactly ecstatic at the
prospect of doing it for nothing.
I suspect that the fact that you were paying for singing lessons might
have had a lot to do with his benevolent behavior towards you.
Tonytenor
Sep 10, 2008, 5:45:24 AM9/10/08
to The Mario Lanza Forum
Armando and Derek,
Hello my friends and thank you so much for your respective posts. I
defer to both of you for the factual and chronological details re:
Mario and his repertoire. As for Constantine Callinicos, Armando, I
really do not know how to respond to what can only be described as
most unfortunate and, to me anyway, surprising behavior in his
response to your interview request. Yes, I was paying him for
coaching lessons, but I daresay he and his wife did not have to be so
kind as to find me a place to live in NYC and welcome me into their
home as they did. On more than one occasion, following my lesson,
Constantine asked me to stay and have a drink or some coffee and
discuss music and opera in general and, more specifically, Mario. I
will tell you that it was very rare that Constantine initiated a
conversation about Mario, but he did on occasion. I do remember him
saying to me one day when I was having a particularly hard time with
some new music I was learning, that if you ever wanted to say a dirty
word around Mario, just mention solfeggio. Constantine told me that
he did work with Mario on his sight singing but it was not a strength
and he (Mario) found it tedious and frustrating. Now again, this is
what CC said to me and this was the person I knew and worked with. As
for Constantine's kindness towards me, I would like to believe it was
not mercinary and simply the result of monetary compensation.
> > Giubba. Impressive stuff for a young tenor.- Hide quoted text -
Hello my friends and thank you so much for your respective posts. I
defer to both of you for the factual and chronological details re:
Mario and his repertoire. As for Constantine Callinicos, Armando, I
really do not know how to respond to what can only be described as
most unfortunate and, to me anyway, surprising behavior in his
response to your interview request. Yes, I was paying him for
coaching lessons, but I daresay he and his wife did not have to be so
kind as to find me a place to live in NYC and welcome me into their
home as they did. On more than one occasion, following my lesson,
Constantine asked me to stay and have a drink or some coffee and
discuss music and opera in general and, more specifically, Mario. I
will tell you that it was very rare that Constantine initiated a
conversation about Mario, but he did on occasion. I do remember him
saying to me one day when I was having a particularly hard time with
some new music I was learning, that if you ever wanted to say a dirty
word around Mario, just mention solfeggio. Constantine told me that
he did work with Mario on his sight singing but it was not a strength
and he (Mario) found it tedious and frustrating. Now again, this is
what CC said to me and this was the person I knew and worked with. As
for Constantine's kindness towards me, I would like to believe it was
not mercinary and simply the result of monetary compensation.
Carol K.
Sep 11, 2008, 2:52:13 AM9/11/08
to The Mario Lanza Forum
Thank you for your post, Gary. To answer your question, I have never
been a member of any Lanza forums or fan clubs. The reason I actually
decided to join this particular forum is because I felt the atmosphere
here to be more scholarly, and the group more knowledgeable and
informative, than other websites I’d visited and I wanted to learn
more. It was my intention to simply be a member lurking in the
background inasmuch I was here to learn and didn’t think I had much of
anything to offer. I just feel a visceral connection to the voice
that is Lanza’s.
However, Derek gently pressed me further by reminding me that I had
not yet provided a profile or an introduction to the group. So, I put
a Google profile together that began by describing my passion for
Cirque du Soleil. And because of the Lanza Forum being the catalyst
for my doing a profile in the first place, I made mention of a
cherished early childhood memory of hearing Mario Lanza singing at our
home. Then, the sadness I felt when I realized that among the items
lost in our house fire were the Mario Lanza recordings I had that had
been my father's (along with my family’s entire 78 rpm record
collection and the antique Magnavox they had been played on).
I have only recently begun the task of unpacking and going through
boxes packed out by our insurance company’s restoration group and
placed into storage following the fire. For some time now, I haven't
wanted to deal with that process. Unpacking some of the contents
understandably brought back some old memories.
As to my connection to Mario Lanza and Constantine Callinicos never
being “mentioned” before. The connection is, of course, very special
to me but I really had no idea that anyone else would be particularly
interested in what little I know about my uncle, or about my childhood
memories of him and Mario Lanza.
I am, just like you, a huge aficionado of the voice!
Cheers and Best Wishes,
Carol K.
been a member of any Lanza forums or fan clubs. The reason I actually
decided to join this particular forum is because I felt the atmosphere
here to be more scholarly, and the group more knowledgeable and
informative, than other websites I’d visited and I wanted to learn
more. It was my intention to simply be a member lurking in the
background inasmuch I was here to learn and didn’t think I had much of
anything to offer. I just feel a visceral connection to the voice
that is Lanza’s.
However, Derek gently pressed me further by reminding me that I had
not yet provided a profile or an introduction to the group. So, I put
a Google profile together that began by describing my passion for
Cirque du Soleil. And because of the Lanza Forum being the catalyst
for my doing a profile in the first place, I made mention of a
cherished early childhood memory of hearing Mario Lanza singing at our
home. Then, the sadness I felt when I realized that among the items
lost in our house fire were the Mario Lanza recordings I had that had
been my father's (along with my family’s entire 78 rpm record
collection and the antique Magnavox they had been played on).
I have only recently begun the task of unpacking and going through
boxes packed out by our insurance company’s restoration group and
placed into storage following the fire. For some time now, I haven't
wanted to deal with that process. Unpacking some of the contents
understandably brought back some old memories.
As to my connection to Mario Lanza and Constantine Callinicos never
being “mentioned” before. The connection is, of course, very special
to me but I really had no idea that anyone else would be particularly
interested in what little I know about my uncle, or about my childhood
memories of him and Mario Lanza.
I am, just like you, a huge aficionado of the voice!
Cheers and Best Wishes,
Carol K.
gary from N.S.
Sep 20, 2008, 11:18:39 AM9/20/08
to The Mario Lanza Forum
Hello Carol,
Please accept my apology for being slow to your response here. Thank
you for answering my post.
I realize of course how very difficult it is to recall situations from
"way" back in your childhood. I suppose we are all such fans of Mario,
that any time there is a possibility to hear some anecdote from his
life (and yours), concerning Mario and even Costa's is really
exciting. I can't imagine how wonderful your experience from
childhood, just in the meeting of Mario in person,and your connection
to Callinicos.
Wouldn't you love to have photos of these times. But alas, as you say
we are all connected by our love of Mario's voice.
Cheers
Gary
Please accept my apology for being slow to your response here. Thank
you for answering my post.
I realize of course how very difficult it is to recall situations from
"way" back in your childhood. I suppose we are all such fans of Mario,
that any time there is a possibility to hear some anecdote from his
life (and yours), concerning Mario and even Costa's is really
exciting. I can't imagine how wonderful your experience from
childhood, just in the meeting of Mario in person,and your connection
to Callinicos.
Wouldn't you love to have photos of these times. But alas, as you say
we are all connected by our love of Mario's voice.
Cheers
Gary
Derek McGovern
Oct 25, 2008, 9:35:36 PM10/25/08
to The Mario Lanza Forum
I've just discovered that the entire text of Callinicos' 1960 book The
Mario Lanza Story can be read online for free:
http://www.archive.org/stream/mariolanzastory009166mbp
The above link is for a "flip book" recreation of the text; to read
each page, you simply click on your mouse to turn the pages. It's like
having the book right in front of you!
The chapter entitled "Licia Albanese" (from pg. 190) makes interesting
reading, and it's here that Callinicos claims that Mario had
"rejected" his religion.
Mario Lanza Story can be read online for free:
http://www.archive.org/stream/mariolanzastory009166mbp
The above link is for a "flip book" recreation of the text; to read
each page, you simply click on your mouse to turn the pages. It's like
having the book right in front of you!
The chapter entitled "Licia Albanese" (from pg. 190) makes interesting
reading, and it's here that Callinicos claims that Mario had
"rejected" his religion.
Derek McGovern
Oct 25, 2008, 9:48:18 PM10/25/08
to The Mario Lanza Forum
A PS to the above: assessments of Callinicos' book, plus those of
other Lanza bios, can be read at this earlier thread:
http://groups.google.com/group/mariolanza/browse_thread/thread/d6adeaba8d61069d#
other Lanza bios, can be read at this earlier thread:
http://groups.google.com/group/mariolanza/browse_thread/thread/d6adeaba8d61069d#
Muriel
Oct 26, 2008, 12:22:42 PM10/26/08
to The Mario Lanza Forum
This is interesting, Derek - reading a book online. I have the book
and read from the chapter on Licia to the end last night. There is no
doubt that Mario's sense of worth needed tremendous bolstering at this
time. Licia had genuine respect for his talent and also had the
patience to listen to him when he told her about the things that were
worrying him. In turn, he respected her. If only she had been able to
spend more time in California. I believe had he been singing opera at
the Met by then, his self-worth would have been further encouraged by
other singers there. Remember how many compliments he received when
filming The Great Caruso? Those Met stars *knew* his voice was great
and I think being in that venue would have helped him, without
question. How right Licia was when she stated, "It is not that he's
any different around me. It's only that he is a boy who needs
continual reassurance and affection. In Hollywood he has found few
people who can give him this, or who want to." Amen to that!
Callinicos. unfortunately, dwelled too much on Mario's drinking from
this point on in the book. He chronicled his eventual demise with
tales of temper tantrums, refusal to listen to the advice of doctors
and himself, more stories of his sneaking drinks, diets that only
succeeded temporarily, etc. I would have liked to have read more about
the times he gave good concerts and the times he was sober and
performing well. I guess Costa tried to atone for that in subsequent
interviews when he stated Mario only drank on occasion. Going from one
extreme to another.
His book left much to be desired. It is an easy read, however, but you
have to have a balance, like Armando's book, to follow up on
appreciating how magnificent his artistry was and how amazing that he
produced so much recording legacy in a short ten years' time. Armando
makes us understand this, and also explains Mario's capabilities for
achieving greatness in the musical world.
Thanks for bringing this to our attention, Caro mio....
and read from the chapter on Licia to the end last night. There is no
doubt that Mario's sense of worth needed tremendous bolstering at this
time. Licia had genuine respect for his talent and also had the
patience to listen to him when he told her about the things that were
worrying him. In turn, he respected her. If only she had been able to
spend more time in California. I believe had he been singing opera at
the Met by then, his self-worth would have been further encouraged by
other singers there. Remember how many compliments he received when
filming The Great Caruso? Those Met stars *knew* his voice was great
and I think being in that venue would have helped him, without
question. How right Licia was when she stated, "It is not that he's
any different around me. It's only that he is a boy who needs
continual reassurance and affection. In Hollywood he has found few
people who can give him this, or who want to." Amen to that!
Callinicos. unfortunately, dwelled too much on Mario's drinking from
this point on in the book. He chronicled his eventual demise with
tales of temper tantrums, refusal to listen to the advice of doctors
and himself, more stories of his sneaking drinks, diets that only
succeeded temporarily, etc. I would have liked to have read more about
the times he gave good concerts and the times he was sober and
performing well. I guess Costa tried to atone for that in subsequent
interviews when he stated Mario only drank on occasion. Going from one
extreme to another.
His book left much to be desired. It is an easy read, however, but you
have to have a balance, like Armando's book, to follow up on
appreciating how magnificent his artistry was and how amazing that he
produced so much recording legacy in a short ten years' time. Armando
makes us understand this, and also explains Mario's capabilities for
achieving greatness in the musical world.
Thanks for bringing this to our attention, Caro mio....
Maria Luísa
Oct 26, 2008, 7:51:04 PM10/26/08
to The Mario Lanza Forum
How fantastic Derek is to read Callinicos' book, never thought that
possible, even if is on line. Especially and that is what really
interests me, his opinions on Mario. After reading Muriel's message
about this gentleman's book I am prepared to agree with her. If the
gentleman says that Mario was drinking all the time and later changes
his mind and says the opposite, something very wrong must be here.
People who exaggerate or change his mind every five minutes about
important things is the kind of people not to be trusted ever, I
think. Thank you very much for this extraordinary link
possible, even if is on line. Especially and that is what really
interests me, his opinions on Mario. After reading Muriel's message
about this gentleman's book I am prepared to agree with her. If the
gentleman says that Mario was drinking all the time and later changes
his mind and says the opposite, something very wrong must be here.
People who exaggerate or change his mind every five minutes about
important things is the kind of people not to be trusted ever, I
think. Thank you very much for this extraordinary link
Joe Fagan
Oct 29, 2008, 12:22:34 AM10/29/08
to The Mario Lanza Forum
Thanks for this link Derek!, pretty cool--I have never seen an "on-
line" book before and it was quite easy to read. Callinicos did remind
me however of how boorish Mario could be at times ( maybe this was
ONLY when he was under the influence of alcohol?), and sometimes Mario
was rather sophomoric as well .......i.e. some of his problems were
his own doing. But, oh, how this man could sing!.....nobody can deny*
that *. Alcoholism is an ugly disease.
> > "rejected" his religion.- Hide quoted text -
line" book before and it was quite easy to read. Callinicos did remind
me however of how boorish Mario could be at times ( maybe this was
ONLY when he was under the influence of alcohol?), and sometimes Mario
was rather sophomoric as well .......i.e. some of his problems were
his own doing. But, oh, how this man could sing!.....nobody can deny*
that *. Alcoholism is an ugly disease.
Maria Luísa
Oct 29, 2008, 10:35:42 AM10/29/08
to The Mario Lanza Forum
But I wonder, was Mario IN FACT an alcoholic? And why is it that some
said he drank only sometimes and not excessively and NEVER ever when
working and on the other hand some others who did not like him may be,
said exactly the opposite? But what is worse, why these same persons
posteriorly draw back their sayings promising they had exaggerated
before and that he drank some, yes, but did that like everyone else,
no more no less? And how come that a man who cared so very much about
his big loving family, which reciprocated that love totally, who was
also a serious worker very responsible to his profession as a tenor
and as a movie star, not one single person denied this, that drank
daily some beers and a perhaps a bit of wine everyday and one or two
whiskies occasionally, was for God's sakes nicknamed an alcoholic? A
person with this kind of profile cannot be called an alcoholic. An
alcoholic and this is proven, does NOT care whatsoever either about
his work or his family. As a matter of fact a true alcoholic does not
care about anything on earth AT ALL. This is my opinion.
said he drank only sometimes and not excessively and NEVER ever when
working and on the other hand some others who did not like him may be,
said exactly the opposite? But what is worse, why these same persons
posteriorly draw back their sayings promising they had exaggerated
before and that he drank some, yes, but did that like everyone else,
no more no less? And how come that a man who cared so very much about
his big loving family, which reciprocated that love totally, who was
also a serious worker very responsible to his profession as a tenor
and as a movie star, not one single person denied this, that drank
daily some beers and a perhaps a bit of wine everyday and one or two
whiskies occasionally, was for God's sakes nicknamed an alcoholic? A
person with this kind of profile cannot be called an alcoholic. An
alcoholic and this is proven, does NOT care whatsoever either about
his work or his family. As a matter of fact a true alcoholic does not
care about anything on earth AT ALL. This is my opinion.
Sam
Oct 29, 2008, 12:24:38 PM10/29/08
to The Mario Lanza Forum
Maria Luisa: If we can believe that his liver was badly damaged, then
we can believe that Mario was indeed an alcoholic. I wish that were
not the case (because it also explains why he lost so much time when
he should have been productive, using his voice), but I am afraid it
was definitely true.
> > > - Show quoted text -- Hide quoted text -
we can believe that Mario was indeed an alcoholic. I wish that were
not the case (because it also explains why he lost so much time when
he should have been productive, using his voice), but I am afraid it
was definitely true.
Jan Hodges
Oct 29, 2008, 4:33:20 PM10/29/08
to mario...@googlegroups.com
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I am ploughing my way through Costa's book. I am about half way due to only being able to spend limited time on the computer. My view so far is that he seems to concentrate far too much on perceived flaws in Mario's character and not enough on his singing and artistry. I think it may have been sensationalised in order to sell copies.
Regards Jan
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Derek McGovern
Oct 29, 2008, 5:46:39 PM10/29/08
to The Mario Lanza Forum
Hi Luísa and Sam: My own hunch is that Mario was essentially a binge
or episodic drinker -- just as he was also a binge *eater*. Not
exactly an alcoholic, in other words -- though the sheer amount that
he consumed when he was on a "bender" obviously damaged his health
severely. But I don't think he was addicted to alcohol to the extent
that he couldn't control his drinking (when he was working, for
instance -- as Armando points out in his book). Had he lived, however,
he would have had to make some major lifestyle changes if he were to
recover from all the ailments that were afflicting him by
1959.
or episodic drinker -- just as he was also a binge *eater*. Not
exactly an alcoholic, in other words -- though the sheer amount that
he consumed when he was on a "bender" obviously damaged his health
severely. But I don't think he was addicted to alcohol to the extent
that he couldn't control his drinking (when he was working, for
instance -- as Armando points out in his book). Had he lived, however,
he would have had to make some major lifestyle changes if he were to
recover from all the ailments that were afflicting him by
1959.
Maria Luísa
Oct 30, 2008, 9:34:34 AM10/30/08
to The Mario Lanza Forum
I agree totally with you Jan. I am reading C.C. book on line.
Immediately after Derek told us about it I went to read it, firstly up
to page 50, then anxious to know his views on other matters - and this
because having only one soul book on Mario and that is Armando's, very
detailed and very precise in telling all about Mario, so through by
becoming aware of just about everything on his life, I did this
jumping trying to know more on Mario, namely C.C.'s perspective on
different facets on his life - I read some pages from two hundred and
something onwards, then I came back to where I had left and all in all
what I see, up until now, what I see is his keeping insisting on
Mario's excessive drinking in almost all paragraphs. That can makes
you a bit indisposed at the minimum, not to say mad. I begin to
suspect that there is an awful lot of exaggeration on Mr.Callinicos'
part. Just my impression. Thank you Jan for your view on this.
> faint_grain.jpg
> 1KViewDownload
Immediately after Derek told us about it I went to read it, firstly up
to page 50, then anxious to know his views on other matters - and this
because having only one soul book on Mario and that is Armando's, very
detailed and very precise in telling all about Mario, so through by
becoming aware of just about everything on his life, I did this
jumping trying to know more on Mario, namely C.C.'s perspective on
different facets on his life - I read some pages from two hundred and
something onwards, then I came back to where I had left and all in all
what I see, up until now, what I see is his keeping insisting on
Mario's excessive drinking in almost all paragraphs. That can makes
you a bit indisposed at the minimum, not to say mad. I begin to
suspect that there is an awful lot of exaggeration on Mr.Callinicos'
part. Just my impression. Thank you Jan for your view on this.
> 1KViewDownload
Maria Luísa
Oct 30, 2008, 10:18:53 AM10/30/08
to The Mario Lanza Forum
Thank you Sam for your words. I may not agree with you for the simple
reason that, just one example, my great-grandmother died at 81 years
old from a cirrhosis and all she did really during all her long life,
was drinking one or two small glasses of red wine at every meal, like
most men and women do over here - not me though I must be some kind of
exception here, I do not drink any wine, neither table wine nor any
other kind of wine. Still I do not consider that my g.g.-mother (an
upper class lady, very well related, an exceptional housewife and a
very conscientious good mother of many children, because of dying from
a cirrhosis was an alcoholic in the true meaning of this word, but
perhaps I am wrong and she was one after all. No, I do not think that
she could have been considered one truly. Mario did not dye from a
cirrhosis although he drank sometimes (not all the time) a lot it
seems. You say his liver was badly damaged and that must be true but
he did dye in fact from other multiple health complications not
exastly because of his damaged liver, however he was called an
alcoholic. Why was that? This was somehow unfair, I think.
reason that, just one example, my great-grandmother died at 81 years
old from a cirrhosis and all she did really during all her long life,
was drinking one or two small glasses of red wine at every meal, like
most men and women do over here - not me though I must be some kind of
exception here, I do not drink any wine, neither table wine nor any
other kind of wine. Still I do not consider that my g.g.-mother (an
upper class lady, very well related, an exceptional housewife and a
very conscientious good mother of many children, because of dying from
a cirrhosis was an alcoholic in the true meaning of this word, but
perhaps I am wrong and she was one after all. No, I do not think that
she could have been considered one truly. Mario did not dye from a
cirrhosis although he drank sometimes (not all the time) a lot it
seems. You say his liver was badly damaged and that must be true but
he did dye in fact from other multiple health complications not
exastly because of his damaged liver, however he was called an
alcoholic. Why was that? This was somehow unfair, I think.
Maria Luísa
Oct 30, 2008, 9:42:29 PM10/30/08
to The Mario Lanza Forum
That's more like it Derek, I agree totally with your words. Yes, being
Mario a will-powered man respecting his work and family, I'm sure that
he would - and is a fact that he did exactly that each time he needed
to - have stopped drinking completely had he had that absolute
necessity for whatever reason. A person that is able to take such a
decision (stop drinking totally while working) cannot be an alcoholic.
However and I agree, later in his life had he lived he certainly would
have had to be very careful with his health, especially with his heart
due to the tremendous effort it had been submitted to during the many
years past, more so with the kind of Mario's voice. Thanks Derek.
Mario a will-powered man respecting his work and family, I'm sure that
he would - and is a fact that he did exactly that each time he needed
to - have stopped drinking completely had he had that absolute
necessity for whatever reason. A person that is able to take such a
decision (stop drinking totally while working) cannot be an alcoholic.
However and I agree, later in his life had he lived he certainly would
have had to be very careful with his health, especially with his heart
due to the tremendous effort it had been submitted to during the many
years past, more so with the kind of Mario's voice. Thanks Derek.
Derek McGovern
Sep 11, 2008, 6:19:41 PM9/11/08
to mario...@googlegroups.com
Hi Carol
Thanks for your kind comments about this forum.
When you have a free moment, would you be able to share any of your
father's memories of Mario with our group? I realize, of course, that
your father was a very private person, but it would be fascinating to
learn of any anecdotes that he may have told you about Lanza.
All the best
Derek
peterca...@gmail.com
Jul 7, 2019, 11:58:09 PM7/7/19
to Mario Lanza, Tenor
My father was a bum. Pure and simple. He abandoned my mother and me when I was 12 years old. He left on a "business trip" to Germany and never came back. He never even divorced my mother before he got married again.I have absolutely no respect for him whatsoever.
Derek McGovern
Jul 8, 2019, 12:05:44 AM7/8/19
to Mario Lanza, Tenor
Hello Peter:
I'm not sure what your motive for posting here is, but are you referring to Constantine Callinicos, the conductor who worked with Mario Lanza?
That Constantine Callinicos lived in New York City (and died there), so if you are referring to the same person, then he certainly returned from Germany. He accompanied Lanza on a recital tour in that country between January and April of 1958.
Steff Walzinger
Jul 8, 2019, 5:25:16 AM7/8/19
to mario...@googlegroups.com
Hi Derek,
In fact, Callinicos was in Germany for quite a while after Mario’s death. Here‘s what the magazine „Der Spiegel“ reported in May 1961:
„Constantine Callinicos, 40, Dirigent, Pianist, Schriftsteller und langjähriger Begleiter des verstorbenen US-Carusos Mario Lanza, ließ sich vorübergehend in der Nürnberger Pension "Royal" nieder, um von hier aus einen Prozeß gegen die Illustrierte "Quick" und den Schriftsteller Jürgen Thorwald zu führen. Callinicos behauptet, Thorwald habe für seinen "Quick"-Fortsetzungsbericht "Der tödliche Appetit" ganze Passagen aus dem in Amerika erschienenen Buch "The Mario Lanza Story" (von Callinicos) abgeschrieben.“
(Constantine Callinicos, 40, conductor, pianist, author and long-term accompanist of the late US-Caruso Mario Lanza, has temporarily taken up residence at the Pension „Royal“ in Nürnberg to carry on a lawsuit against the magazine „Quick“ and the author Jürgen Thorwald. Callinicos claims that for his „Quick“-serial „The deadly appetite“ Thorwald copied complete passages from his book „The Mario Lanza Story,“ published in America.)
Unfortunately, I have no information about the outcome of this lawsuit.
Steff
Oscar Herrera
Jul 8, 2019, 2:03:02 PM7/8/19
to mario...@googlegroups.com
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Derek McGovern
Jul 9, 2019, 9:20:51 PM7/9/19
to mario...@googlegroups.com
Interesting stuff, Steff: Talk about gilding the lily!
"Closest friend for 13 years"? They first met in April 1947 for a one-off recital in Shippensburg, and didn't work together again until March 1949. After 1953, there were long periods in which they didn't see each other (in fact, they didn't collaborate again until October 1957).
Lanza's "singing coach"? Tell that to Giacomo Spadoni, who coached Mario from 1948 to 1957!
peterca...@gmail.com
Jul 20, 2019, 9:21:03 PM7/20/19
to Mario Lanza, Tenor
Hi Derek,
Yes that is the same person. He did return from Germany after I turned 18, more than likely because he would no longer be responsible for child support. He never sent a penny to my mother. Not only that my mother was responsible for his massive dental bills.
Yes that is the same person. He did return from Germany after I turned 18, more than likely because he would no longer be responsible for child support. He never sent a penny to my mother. Not only that my mother was responsible for his massive dental bills.
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